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THE J. PAUL GETTY MUSEUM LIBRARY 


THE 


HENRY SYMONS 
COLLECTIONS 


AFTERNOON SESSION EACH DAY AT TWO-THIRTY 
EVENING SESSION, THURSDAY AT EIGHT-FIFTEEN 


SALE FROM SATURDAY, JANUARY TWENTY-SEVENTH 
TO SATURDAY, FEBRUARY THIRD, INCLUSIVE 


ar 


i aa Aaa 
& BR eo Re yes .F 


‘BUREAU x CYLINDRE DESK 
—~ made b ry Riesener 


This desk is covered with a great variety of 
figured veneers of bois d’amaranthe, bois de 
violette, rose, coral, lemon and maple woods. 
On a kneebole table of four chamfered 
cabriole supports, enriched with mounts by AEA 22277 ws y dG) 
Martincourt and lions’ claw sabots; the front ‘pat donnie att 
furnished with panels of flower urns and a , 
landscape, with architecture and figures laid 
in tinted and scorched exotic woods; the 
returns in marqueterie, simulating wainscot; 
tbe cylindrical flap with a circular voluted 
cartouche, occupied by emblems. This is 
beaded by a meandered incurved cornice, 
furnished with drawers, and topped by a 
Bleu Turquin d’ Italie marble top; guarded 
by a pierced rail. 


The desk is shown closed in the color illustration; 
open in the sketch 


SALE NUMBER 1705 
PUBLIC EXHIBITION FROM SUNDAY, JANUARY TWENTY-FIRST 


THE 


HENRY SYMONS 
COLLECTIONS 


UNRESERVED PUBLIC SALE 
BY ORDER OF HENRY SYMONS 
FROM SATURDAY AFTERNOON, JANUARY TWENTY-SEVENTH 
TO SATURDAY AFTERNOON » FEBRUARY THIRD, INCLUSIVE 
EVERY AFTERNOON AT TWO-THIRTY 
AND THURSDAY EVENING AT EIGHT-FIFTEEN 


THE ANDERSON GALLERIES 


[MITCHELL KENNERLEY, Presipent] 
PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 


~, a 


CONDITIONS OF SALE 


ALL BIDS TO BE PER PIECE AS DESCRIBED IN THE CATALOGUE. 


The highest bidder to be the buyer. In all. cases of disputed bids the decision 
of the Auctioneer shall be final. | 


Buyers to give their names and addresses and to make such cash payments on 
account as may be required, in default of which the lots pur rchased shall be 
resold immediately. 


Purchases to be removed at the buyer’s expense and risk within twenty-four 
hours from the conclusion of the sale, and the remainder of the purchase money 
to be paid on or before delivery, in default of which The Anderson Galleries, 
Incorporated, will not be responsible for any loss or damage whatever, but the 
lot or lots will be left at the sole risk of the purchaser, and subject to storage 


charges. 


All lots will be placed on public exhibition before the date of sale, for examina- 
tion by intending purchasers, and The Anderson Galleries, Incorporated, will 
not be responsible for the correctness of the description, authenticity, genuine- 
ness, or for any defect or fault in or concerning any lot, and make no warranty 
whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. 


If accounts are not paid and purchases removed within twenty-four hours of the 
conclusion of the sale, or, in the case of absent buyers, when bills are rendered, 
any sum deposited as part payment shall be forfeited, and The Anderson Gal- 
leries, Incorporated, reserve the right to resell the lot or lots by either private 
or public sale, without further notice, and if any deficiency arises from such 
resale it shall be made good by the defaulter, together with all expenses in- 
curred. This condition shall be without prejudice to the right of this Com- 
pany to enforce the sale contract and collect the amount due without such 


resale, at its own option. 


The Anderson Galleries, Incorporated, will afford every facility for the employ- 
ment of carriers and packers by the purchasers, but will not be responsible 
for any damage arising from the acts of such carriers and packers. 


The Anderson Galleries make no charge for executing orders for their cus- 
tomers and use all bids competitively, buying at the lowest price permitted 


by other bids. 


Priced Copy of this Catalogue may be secured for fifty cents for each 


session of the sale 


THE ANDERSON GALLERIES, INC. 
PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 


TELEPHONE PLAZA 9356 SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN 


THE J. PAUL GETTY MUSEUM LIBRARY 


ORDER OF SALE 


SATURDAY AFTERNOON, JANUARY 
TWENTY-SEVENTH. 


OLD GEORGIAN AND CONTINENTAL SILVER 187 
MINTON PORCELAIN FLOWER VASES 88— 98 
OLD ENGLISH SHEFFIELD PLATE, ETC. 99-148 


MONDAY AFTERNOON, JANUARY TWENTY-NINTH 


OLD ENGLISH FURNITURE AND PAINTED ROOMS: 17TH, 
18TH AND EARLY 19TH CENTURIES 149-308 


TUESDAY AFTERNOON, JANUARY THIRTIETH 


DECORATED AND MARQUETERIE COFFERS 304—321 
NEEDLEWORK AND EMBROIDERY PICTURES, ETC. 322-348 
ENGLISH AND CONTINENTAL PORCELAIN AND POTTERY 349-364 
EXCEPTIONALLY RARE ORIENTAL LOWESTOFT URNS, 


VASES, DINNER AND TEA SERVICES: 365—422 
ENGLISH METALLIC RESIST (LUSTRE) WARE: COPPER, 
SILVER AND PURPLE 423-470 


WEDNESDAY AFTERNOON, JANUARY 
THIRTY-FIRST 


OLD ENGLISH FURNITURE AND PAINTED ROOMS: 17TH, 
18TH AND EARLY 19TH CENTURIES 471-627 


THURSDAY AFTERNOON, FEBRUARY FIRST 


OLD ENGLISH FURNITURE: 17TH, 18TH AND EARLY 19TH 
CENTURIES 628—686 


EARLY AMERICAN FURNITURE 687—700 


OLD ENGLISH FURNITURE, PAINTED ROOM, PAINTING BY 
PIETER HARDIME, AND 18TH CENTURY E NGLISH PIPE 
ORGAN WITH PAINTED PANELS BY BENJAMIN WEST, 
R.A., FORMERLY BELONGING TO LORD LOVELACE 701—780 


THURSDAY EVENING, FEBRUARY FIRST 


NAVAL AND MARINE PRINTS 781—800 
THE RARE MARINE SERIES IN COLOR, AFTER THE FA- 

MOUS PAINTINGS BY DOMINICK SERRES, R.A. 801-813 
MARINE AND NAVAL PAINTINGS BY THE ENGLISH MAS- 

TERS OF THE EIGHTEENTH CENTURY 814-837 
SHIP MODELS 838—887 
SHIP BELLS, NAVAL CANNON AND MARINE RELICS 888—896E 
OLD ENGLISH SPORTING PRINTS AND PAINTINGS 897—909 


FRIDAY AFTERNOON, FEBRUARY SECOND 


OLD ENGLISH, FRENCH AND ITALIAN FURNITURE, 
PAINTED WAINSCOT ROOMS, AND IMPORTANT TAPES- 
TRIES . 910-1054 


SATURDAY AFTERNOON, FEBRUARY THIRD 


OLD FRENCH AND ENGLISH FURNITURE, AND IMPOR- 
TANT TAPESTRIES 1055-1179 


THE HENRY SYMONS COLLECTIONS 


HE great collection of works of art formed by the internationally known 

expert and connoisseur, Henry Symons of New York and London, in as- 
sociation with Harry Simmons of London, a judge of unquestioned authority 
in the art world and president of the British Antique Dealers’ Association, 
should prove of exceptional interest to an exceptional gathering of collectors 
and amateurs. There are 1200 numbers in the collection, which is remarkable 
in its range and importance, its variety and completeness. No form of art 
endeavor has escaped the ardent explorer. The most characteristic and 
esthetically perfect objects have been acquired from famous collections and 
noble estates in England and France. 

While the list of former owners reads like an extract from Burke’s 
Armoury, the names of tapestry weavers, designers, cabinet makers, silver- 
smiths, potters, clockmakers, et cetera, which figure in the catalogue, give as- 
surance of the highest artistic standard. 


THE TAPESTRIES include: 


A Set of Four Gold Thread Gobelin Tapestries of the Seventeenth Century, 
representing The Seasons, woven by Jean Jans the younger, after the enchant- 
ing cartoons by Lucas Van Leyden. (From Balloch Castle) 


A Fifteenth Century Gothic Tapestry of Paris weave, inscribed ‘Le Cerf 
Humain”’, composed in the most romantic vein of that memorable epoch of 
Agincourt, Joan of Arc, the Wars of the Roses, the fall of Constantinople in 
the East, and the visions of Columbus in the West. (From the Collection of the 
Marquis of Breadalbane) 


A Set of Four Queen Anne Tapestries, representing the elements after the 
Lebrun cartoons, woven by John VanderBank (Vandrebanc) at Great Queen 
Street, London, for the first Lady Guilford to cover the walls of the Prince 
of Wales’ apartments upon his visit to the Abbey. (From the Collection of 
Lord North of Wroxton Abbey) 


(Lord North, the only son of the Earl of Guilford, was British Premier 
during the period of the Revolutionary War, and with the help of the “King’s 
Friends” carried out the policies which resulted in George III exclaiming, after 
Yorktown, “O God, it is all over!) 


A Don Quixote High Loom Tapestry, woven by the celebrated Guillaume 
Wernier of Lille, about 1733. (From the Countess of Craven) 


A Beauvais Tapestry of the Régence, by Jean Berain, with architecture and 
figures in the French-Indian taste. 


Three Brussels “Royal Hunt” Tapestries, by Jan de Vos after Van Der 
Meulin, and others of equal importance. 


Two Beauvais Tapestry Cantonniéres of the Louis Seize period by the cele- 
brated Salembier. 


In the field of Ory PorcEeLatn, some remarkable finds have been made, 
particularly the discovery of a beautiful group of Lowestoft Urns, two of 
which were formerly in the possession of Lord Barnard—the rarest and most 
fascinating of Chinese porcelains made for the European market. 

Next to the Lowestoft in popularity will be found the Metallic Resist 
(Lustre) Ware—copper, silver and purple—well represented by specimens of 
unusual form and importance. 

Among many distinctive pieces of Georgian and Continental Silver is a 
splendid silver Table Centre, from the Duke of Abercorn. 

The Old Clocks include a handsome Louis Seize mantel clock from Stowe 
House, the Duke of Buckingham’s famous seat. 

There are two Cartels from Lady Lucas, Adam Mirrors from Lord 
Vivian, and other rare mirrors of various periods and designs. 

The Needlework and Embroidery are exceptionally fine. 

A feature of great importance to the architectural and decorative pro- 
fessions will be the display of Nine Complete Wainscot Rooms on Canvas. 
Two are tooled and painted leather, and one a Queen Anne room, in the Chi- 
nese taste, painted on paper. 

Two Ceiling Panels by Sir James Thornhill, the mural decorator of St. 
Paul’s, will arrest attention. There is also an almost inexhaustible assemblage 
of Old Paintings, Engravings, Samplers, Screens, and other decorative and 
valuable objects of domestic enrichment. 

A large and important Imperial Kashan Rug, formerly in the Shah’s 
Palace at Teheran, is extremely well balanced in composition and sumptuous 
in color. 

A magnificent Pipe Organ, formerly belonging to Lord Lovelace, with 
panels painted by Benjamin West, R.A., is a notable feature. 


Italy’s Art is displayed in—amongst other rare pieces——two sets of chairs 
from the Earl of Leicester, and two great Sixteenth Century Choir Stalls from 
San Donato, attributed to Pietro Paolo Nardi (Romano), formerly owned by 
Sir Richard Wallace, and bequeathed by him to Sir John Murray Scott. 

A carved and polychrome Statue of John the Baptist by Juan Martinez 
Montajfiez, the celebrated Sevillian sculptor of the sixteenth century, is sure 
to arouse deep interest. 

Encuisu Furniture is represented by creations of all the great periods, 
gathered from the collections of Lady Carlisle, the Earl of Pembroke, and the 
celebrated philanthropist, the Baroness Burdett-Coutts. A magnificent Book- 
case by Thomas Chippendale, and a carved circular Writing Table by the same 
master, in their original state, are included. 


Among the masterpieces of the French Cabinet Makers’ art are: 
A Bureau a4 Cylindre, by Riesener, made for the Swedish Ambassador. 


A Marqueterie Coiffeuse by Adrien Faizelot Delorme, formerly the property of 
the famous Admiral Viscount Hood. 


A Coral Wood Commode, by Claude Charles Saunier, with mounts by 
Gouthiére. (From the Right Hon. Lord Wolverton) 


An Embroidered Drawing-Room Suite, with frames by Barthélemi Boucault. 
(From the Earl of Strathmore) 


A Louis Seize Chaise Longue, by Jean Baptiste Lelarge. (From the Earl 
and Countess of Essex) 


A Louis Quinze Commode, by Dubois, of Wallace Collection fame. (From 
the Dowager Countess Howe) 


A Library Table, by Beneman, cabinet maker to the Queen, with superb mounts 
by Thomire. 


A Secrétaire 4 Abattant, by A. F. Delorme. 
An Architect’s Drawing Table, by that great follower of Boule, Georges Jacob. 


In addition, there is the large collection of guéridons, ladies’ writing 
tables, bonheurs de jour, work tables, needlework bergeéres, and fauteuils. 

The Vernis Martin Marriage Coach (Berline) of the Comte de Toulouse, 
painted with allegorical subjects by the brothers Martin, and bearing the 
arms of France and Toulouse, cannot fail to attract the greatest attention, 
with its artistic appeal and romantic historical interest. 

The collection of Ship Models, Naval and Marine Paintings and Prints, 
Ship Bells, Naval Cannon and other relics, with Old English Sporting Prints 
and Paintings, is considered the finest ever offered at public sale. The devel- 
opment and achievements of the British Navy are splendidly illustrated by the 
collection, which includes the rare marine series in color after the famous 
paintings by Dominick Serres, R.A. 

This brief résumé can only convey a slight impression of the scope and 
richness of the extraordinary collection described in detail in the ensuing pages. 


SALE SATURDAY AFTERNOON, JANUARY TWENTY-SEVENTH, AT 2:30 


10 


FIRST SESSION 


NUMBERS 1-148 


THE COLLECTION OF 
OLD GEORGIAN AND CONTINENTAL SILVER 


NUMBERS 1-87 


SILVER REPLICA, IN MINIATURE, OF A COW 
SILVER REPLICA, IN MINIATURE, OF A BEAR 


SMALL GEORGIAN SILVER TRAY 
Boat shape. Supported by four small fluted feet. By Peter and Ann 
Bateman. London Goldsmith’s mark, 1794. 


SMALL GEORGIAN SILVER DESPATCH CASE 
Mark illegible. 


SET OF FOUR OLD SILVER CURTAIN HOLDERS 
In the form of a draped shield bearing a royal coat of arms carved in 


relief. (4) 


MUSTARD POT AND CASTER OF GEORGIAN SILVER 
Circa 1778. (2) 


GEORGIAN SILVER TRAY 
Oblong shape; standing on four small scroll feet. Centre engraved lion 
rampant. Circa 1730. 


SMALL GEORGIAN SILVER TRAY 
Beaded border; supported by four small ball and claw feet. By William 
Potter. London Goldsmith’s mark, 1785. 


GEORGIAN SILVER COFFEE POT AND COVER 
Finely chased in a floral and scroll design. By W. J. Priest. London 
Goldsmith’s mark, 1768. 


TWO GEORGIAN SILVER CANDLESTICKS 


Tapered circular columns on square beaded bases. (2) 


1 


oh! 


12 


13 


14 


15 


16 


17 


18 


0s) 


20 


GEORGIAN SILVER COFFEE POT 
Plain body; spout of a scroll design. By Wiliam Shaw and William 
Priest. London Goldsmith’s mark, 1749. 


TWO GEORGIAN SILVER COASTERS 
Floral and scroll edge; fluted body. By Henry Greenway. London Gold- 
smith’s mark, 1789. (2) 


GEORGIAN SILVER SAUCE BOAT 
Scroll handle; standing on four scroll claw feet. Circa 1789. 
Weight about 2114 ounces. 


GEORGIAN SILVER INKSTAND 

Oblong shape, with beaded and floral rims and three trellis-work gal- 
leries holding glass inkwells, with silver mounts. On four openwork 
scroll feet. By William Penson. London Goldsmith’s mark, 1772. 


TWO GEORGIAN SILVER COASTERS 
Floral and scroll edges; fluted bodies. By Henry Greenway. London 
Goldsmith’s mark, 1789. (2) . 


TWO OLD FRENCH SILVER CANDLESTICKS 
Triangular tapering columns with oval medallions of mask heads carved 
on the top, and resting on triangular bases with similarly carved 


heads. (2) 


OLD SPANISH SILVER PLAQUE / 

Representing Columbus, holding a flag, landing in America. In the back- 
ground may be seen ships. The whole is beautifully hammered out in 
relief. Moulded brass frame of the period. Dated on the lower right 
hand corner, 1492. 


OLD ENGLISH WOOD AND SILVER-MOUNTED CRUET 
Shaped wood base with silver handle in centre; fitted with five old Water- 
ford cut glass bottles with silver mounts. 


AUGSBURG SILVER CUP AND COVER 
Chased floral and fluted design; standing on four apple and floral feet. 
Weight about 141 ounces. 


AUGSBURG SILVER CUP 
Decorated with oval medallion, figure-head medallions and fruit; standing 
on three ball and claw feet. 


bo 


21 


22 


23 


24 


25 


26 


27 


28 


29 


30 


31 


AUGSBURG SILVER-GILT CUP AND COVER 
Engraved with oval medallions representing battle scenes and vases 
of flowers. Weight about 12 ounces. 


SMALL GEORGIAN SILVER TEAPOT AND COVER 
Oval medallion engraved in centre and surrounded by scrolls; stained 
green bone handle. By William Eley. London Goldsmith’s mark, 1787. 


GEORGIAN SILVER COFFEE POT AND COVER 
Scroll and floral spout. Wooden handle. By George Methuen. Lon- 
don Goldsmith’s mark, 1760-61. 


QUEEN ANNE SILVER PLATE 
With scalloped edge. By Thomas Holland. London Goldsmith’s mark, 
ECLO-L iy. Weight about 15 ounces. 


TWO GEORGIAN SILVER CANDLESTICKS 


Tapered circular column on square beaded base. (2) 


TWO GEORGIAN SILVER VASES AND COVERS 
Seroll and fluted handles. By Benjamin Stephenson. London Gold- 
smith’s mark, 1779. (2) Weight about 40 ownces. 


GEORGIAN SILVER TANKARD AND COVER 
Shaped handle bearing initials S.R.S. By Langlands & Goodriche, New- 
castle, 1754-5. Weight about 24 ounces. 


SET OF THREE GEORGIAN SILVER CADDIES AND COVERS 
Finely chased in a floral and scroll design; in sharkskin case with orig- 
inal lock and handle, and supported by four small silver ball and claw 
feet. By Samuel Taylor. London Goldsmith’s mark, 1751. (3) 
Weight of caddies about 28 ounces. 


GEORGIAN SILVER ENTREE DISH AND COVER 
Oblong shape, gadrooned edge. Cover with inscription, similar edge and 
scroll handle. Dublin, circa 1814. 


TWO GEORGIAN SILVER-GILT CANDLESTICKS 

Candle holders supported by draped female figures on circular bases in 
a fluted and leaf design. By William Pitts and Joseph Preedy. London 
Goldsmith’s mark, 1799. (2) 


OLD ENGLISH SHEFFIELD SNUFFER AND TRAY 
Floral, scroll and beaded border. 


3 


34 


35 


36 


37 


38 


39 


40 


41 


42 


GEORGAN SILVER GOBLET 


Floral engraving and inscription. Circa 1762-3. 


LARGE GEORGIAN SILVER SOUP TUREEN AND COVER 
Oval body with two scroll handles. By S.H. (untraced). Circa 1777. 


GEORGIAN SILVER WAITER 

Beaded edge; on three scroll-shaped beaded feet. Centre engraved with 
presentation inscription. By Peter and Jonathan Bateman. London 
Goldsmith’s mark, 1790. 


LARGE SILVER HELMET-SHAPED PITCHER 
Base and lower part of body chased in a floral and scroll design; top has 
scroll rim; large scroll handles. By Charles Mullin, Dublin, 1772. 


GEORGIAN SILVER EPERGNE 
Base supported by four scroll legs from which hang leaf festoons; four 
circular baskets, with leaf festoon decoration, extend from the legs. In 
the centre is a larger and similarly decorated basket. By Matthew 
Boulton and James Fothergill, Birmingham, 1775. 

Weight about 48 ounces. 


GEORGIAN SILVER ENTREE DISH AND COVER 
Oblong shape, gadrooned edge. Cover with inscription, similar edge and 
scroll handle. Dublin, circa 1814. 


GEORGIAN SILVER ENTREE DISH AND COVER 
Oblong shape, gadrooned edge. Cover with inscription, similar edge and 
scroll handle. Dublin, circa 1814. 


ENGLISH GEORGIAN SILVER TEAPOT, COVER AND STAND 
Chased geometrical border. By John Emes, London, circa 1804. 
Weight about 15 ounces. 


ENGLISH GEORGIAN SILVER TEAPOT AND COVER 
Chased in floral and scroll design. By Jonathan Alleine, London, circa 
Lia: Weight about 24 ounces. 


TWO ENGLISH GEORGIAN SILVER COASTERS 
Openwork design with rosettes. By R. & S. Henell, London, circa 
1806. (2) 


ENGLISH GEORGIAN SILVER SUGAR BASKET 
Basketwork design; fitted blue glass liner. Circa 1773. 


4 


43 


44) 


45 


46 


AT 


48 


49 


50 


51 


52 


53 


54 


SMALL ENGLISH GEORGIAN SILVER SUGAR BASKET 


Openwork design; blue glass liner. By Charles Chesterman, London, 
circa 1773. 


SET OF FOUR ENGLISH SILVER SALTCELLARS 
Boat shape. By Abraham Peterson, London. (4) 
Weight about 9 ounces. 


ENGLISH GEORGIAN SILVER SNUFFER TRAY 
Oblong shape; chased with a scroll design. By Duncan Urquhart and 
Naphtali Hart, London, circa 1802. Weight about 414 ounces. 


SET OF FOUR ENGLISH GEORGE III SILVER SALTCELLARS 
Openwork design and floral chasings on four ball and claw feet; blue 


glass liners. (4) 


SMALL ENGLISH GEORGIAN SILVER COFFEE POT AND 
COVER 
By Charles Wright, London, circa 1769. Weight about 1514 ounces. 


ENGLISH GEORGIAN SILVER COFFEE POT 
Finely chased in a leaf and scroll pattern. By William Tyte, London, 
circa 1767. Weight about 32 ounces. 


ENGLISH GEORGIAN SILVER INKSTAND 
Fitted with three silver-mounted glass bottles; on four claw feet. By 
William Plumner, London, circa 1761. 


ENGLISH GEORGIAN SILVER CRUET 
Fitted with two glass casters. Cruet and caster covers of openwork de- 
sign. By William Barry. Izish, circa 1734. 


ENGLISH GEORGIAN SILVER STAND 
Fitted with two glass decanters and stoppers, hobnail cut. By Joseph 
Bell, London, circa 1756. 


ENGLISH GEORGIAN SILVER SUGAR BASKET 
Basketwork design; fitted with blue glass liner. Circa 1778. 


ENGLISH GEORGIAN SILVER SUGAR BASKET 
Openwork wire pattern, intertwined leaves and flowers; blue glass liner. 
By Walter Tweedie, London, circa 1773. 


ENGLISH GEORGIAN SILVER BOAT-SHAPED SUGAR BASKET 
Maker unknown. Circa 1773. 


5D 


56 


OT 


58 


59 


60 


61 


62 


63 


64 


65 


ENGLISH GEORGIAN SILVER SNUFFER TRAY 
Boat shape, with moulded edge. By Charles Candler, London, circa 
1785. Weight about 414 ounces. 


ENGLISH GEORGIAN SILVER SNUFFER TRAY 
Boat shape, with scroll handles. By Robert Hennel, London, circa 1790. 
Weight about 314 ounces. 


SET OF SIX ENGLISH GEORGIAN SILVER SALTCELLARS 
Openwork design and chased garlands of flowers. Blue glass liners. By 
Henry Chawner and John Emes, London, circa 1796. (6) 


TWO ENGLISH SILVER CANDLESTICKS 
Square shape, floral bases. By William Bennett, London, circa 1800. (2) 
Weight about 43 ounces. 


ENGLISH GEORGIAN SILVER HOT WATER JUG 
Urn shape; classical design of flowers; similarly shaped base. By Henry 
Cowper, London, circa 1788. Weight about 22 ownces. 


ENGLISH GEORGIAN SILVER OIL AND VINEGAR CRUET 
Boat shape; fitted with two silver-mounted bottles. By John Scofield, 
London, circa 1778. Weight about 17 ounces. 


ENGLISH GEORGIAN SILVER TEA CANISTER AND COVER 
Chased floral design borders. By John Deacon, London, circa 1776. 
Weight about 21 ounces. 


ENGLISH GEORGIAN SILVER STAND 
Fitted with two glass decanters and stoppers, hobnail cut. By Joseph 
Bell, London, circa 1756. 


TWO ENGLISH GEORGIAN SILVER COASTERS 
Openwork design with rosettes. By R. & S. Henell, London, circa 
1806. (2) 


ENGLISH GEORGIAN SILVER SUGAR BASKET 
Openwork wire pattern intertwined by floral garlands; blue glass liner. 
By Hester Boteman, London, circa 1789. 


ENGLISH GEORGIAN SILVER BOAT-SHAPED SUGAR BASKET 
Openwork design; chased garlands. By Alice and George Burroughs, 
London, circa 1812. 


66 


67 


68 


69 


70 


fa: 


72 


73 


74 


795 


76 


ENGLISH GEORGIAN SILVER SNUFFER TRAY 
Boat shape, with moulded edge. By Edward Copper, London, circa 
1768-9. Weight about 41% ounces. 


ENGLISH GEORGIAN SILVER SNUFFER TRAY 
Oblong shape; scroll and floral chasmg. By Andrew Fogelberg, London, 
circa 1776. Weight about 5 ounces. 


SET OF FOUR ENGLISH GEORGIAN SILVER SALTCELLARS 
Openwork floral design on four ball and claw feet. Blue glass liners. 


By R. & D. Hewell, London, circa 1768. (4) 


TWO ENGLISH SILVER TWO-HANDLED TUREENS AND 
COVERS 

Boat shape, with beaded edges and covers. London, circa 1823. (2) 

Weight about 39 ounces. 


ENGLISH GEORGIAN SILVER COFFEE POT AND COVER 
Oviform shape with festoons of flowers around body; scroll handle. Lon- 
don, circa 1759. Weight about 27 ounces. 


TWO ENGLISH GEORGIAN SILVER CANDLESTICKS 
By Edward Copper, London, circa 1768. (2) Weight about 39 ounces. 


EARLY NINETEENTH CENTURY FRENCH SILVER-GILT 
GAMECOCK 


TWO GEORGIAN SILVER CANDLESTICKS 

Circa 1766. Maker untraced. 

Mentioned on page 196, Jackson, “English Goldsmiths and Their 
Marks.” (2) | Weight about 42 ounces. 


TWO GEORGIAN SILVER TWO-HANDLED SAUCE TUREENS 
AND COVERS 

Oval shape; mask-head handles; covers with floral borders. By Daniel 

Smith and Robert Sharp, circa 1780. (2) Weight about 62 ounces. 


TWO GEORGIAN SILVER CANDLESTICKS 
Fluted columnar supports on square beaded bases. By John Winter 
& Co. Sheffield Silversmith’s mark. Circa 1775. (2) 


TWO GEORGIAN SILVER CANDLESTICKS 
Rams’ heads; urn and leaf decoration in relief. By Fenton Cheswick 
& Co. Sheffield Silversmith’s mark. Circa 1813. (2) 


Z 


yer 


78 


79 


80 


81 


82 


83 


84 


GEORGIAN SILVER EPERGNE 

Oval centre piece holding six arms, fitted with original Waterford cut 
glass dishes. By Matthew Boulton. Birmingham Silversmith’s mark. 
Circa 18038. Weight about 142 ownces. 


TWO GEORGIAN SILVER TWO-HANDLED SAUCE TUREENS 
AND COVERS 
Oval shape; standing on four cabriole claw legs; scroll chased borders. 
By William Hall. London Goldsmith’s mark. Circa 1800. (2) 
Weight about 61 ounces. 


TWO GEORGIAN SILVER TWO-HANDLED SAUCE TUREENS 
AND COVERS 

Oval shape; mask-head handles; covers with floral borders. By Daniel 

Smith and Robert Sharp, circa 1780. (2) Weight about 60 ounces. 


TWO GEORGIAN SILVER CANDLESTICKS 
Circa 1766. Maker untraced. Mentioned on page 196, Jackson, “Eng- 
lish Goldsmiths and Their Marks.” (2) — Weight about 42 ownces. 


TWO GEORGIAN SILVER CANDLESTICKS 
Rams’ heads; urn and leaf decoration in relief. By Fenton Cheswick & 
Co. Sheffield Silversmith’s mark. Circa 1813. (2) 


GEORGIAN SILVER HOT WATER JUG 
By John Scofield. London Goldsmith’s mark. Circa 1787. 
Weight about 27 ounces. 


GEORGIAN SILVER TWO-HANDLED SOUP TUREEN AND 
COVER 

On ball and claw feet ; cover surmounted by figure of an owl. By H. N., 

circa 1789. 


TWO GEORGIAN SILVER TWO-HANDLED SAUCE TUREENS 
AND COVERS 
Oval shape; standing on four cabriole claw legs; scroll chased borders. 
By William Hall. London Goldsmith’s mark. Circa 1800. (2) 
Weight about 61 ounces. 


85 THE ABERCORN GEORGIAN SILVER PLATEAU 

In three parts. ‘The centre piece bears the Arms of the Duke of Aber- 
corn. In the centre of each end piece is a large spray of flowers repre- 
senting the Rose, the Thistle and the Leek. A wide chased border sur- 
rounds the entire plateau. In the corners are coronets. The sides and 
ends with roses, thistles, leeks and shamrocks, the emblems of England, 
Scotland, Wales and Ireland. A rail surrounding the entire plateau 
is formed by thistle leaves. On twelve beautifully carved scroll and shell 
feet. The plateau was formerly the property of the Duke of Abercorn. 
By Benjamin Smith. London Goldsmith’s mark. Circa 1814. 

Weight about 1307 ounces. 

[SEE ILLUSTRATION | 


86 GEORGIAN SILVER VEGETABLE DISH AND COVER 
By J. & J. Aldous. London Goldsmith’s mark. Circa 1821. 
Weight about 48 ounces. 


| 87 GEORGIAN TWO-HANDLED GOBLET 
By William Shaw. London Goldsmith’s mark. Circa 1762. 
With the inscription: “The gift of two friends. 1827.” 
Weight about 19 ownces. 


88 


89 


90 


OL 


[91 | [97 | [90] [97 | [91] 


THE COLLECTION OF 
MINTON PORCELAIN FLOWER VASES 


NuMBERS 88-98 


ENGLISH SOLON MINTON PORCELAIN PLAQUE 
Circular shape with a milk-white pate sur pate decoration of spider’s 
web, flying amorini and flowers on an olive-green ground. 


ENGLISH SOLON MINTON PORCELAIN VASE 
Bottle shape. Decorated on each side with a milk-white pate sur pate 
design of vases, flowers and fruit on an olive-green ground. Surmounted 
by two gilt scroll handles. 

[SEE ILLUSTRATION | 


ENGLISH SOLON MINTON PORCELAIN TWO-HANDLED VASE 

Oviform shape. The body is encircled with a band designed in panels of 

milk-white pate sur pate decoration of amorini and flowers on a pink 

ground, and the decoration of the upper part is of a floral and diaper 

pattern, in pinks, greens, browns and grays. Fluted olive-green body. 

Height, 19 inches. 
[SEE ILLUSTRATION | 


TWO ENGLISH SOLON MINTON PORCELAIN VASES 

On each side are oval medallions of a milk-white pate sur pate decoration 
representing draped female figures, flowers and amorini on a coral to- 
mato ground and surrounded by a similar decoration of scrolls and 
flowers. The bodies are of olive-green and decorated with gold stars. 
Gilt mask-head handles. (2) Height, 17 inches. 


[SEE ILLUSTRATION | 


10 


Ot 


| 94 | [92] |9 


[92] [94] 


92 


93 


94 


[96] [89] [96] 


TWO ENGLISH MINTON PORCELAIN VASES AND COVERS 
With milk-white pate sur pAte decoration of flying amorini, trees and 
flowers on an olive-green ground. Initials A.B. (A. Burke, painter.) 
(2) 


[SEE ILLUSTRATION | 


ENGLISH SOLON MINTON PORCELAIN VASE 

Milk-white pate sur pate decoration of birds and trees; the upper part 
has a leaf design in relief and the whole is on an olive-green ground. 
Two masked ring handles. 

This vase was decorated by Pilsbury and exhibited in the Paris Universal 
Exhibition, 1878. 


TWO SOLON MINTON PORCELAIN VASES 
Decorated with a milk-white pate sur pte design of leaves, flowers and 
butterflies. The rims are surrounded by borders of leaves and flowers 
on a light blue ground. Gilt ring handles. (2) 

[SEE ILLUSTRATION | 


11 


95 


96 


air 


[97a | 


ENGLISH SOLON MINTON PORCELAIN VASE AND COVER 

Decorated in panels of milk-white pate sur pate representing sleeping 

amorini, scrolls, and figure-head medallions on a blue ground. Gilt scroll 

ring handles. Height, 154% wches. 
[SEE ILLUSTRATION, PAGE 11 | 


TWO ENGLISH MINTON PORCELAIN VASES BY L. SOLON 
Signed. The fronts decorated with nude female figure holding sunburst. 
Each side has oblong panels with a blue and gold scroll design, above 
which are two ring handles. Necks of vases decorated in a buff floral and 
leaf design on a white ground. (2) 


[SEE ILLUSTRATION, PAGE 11 | 


TWO ENGLISH MINTON PORCELAIN VASES BY L. SOLON 
Bulbous shaped bodies, the fronts decorated with a panel represent- 
ing playing amorini in a milk-white relief at the top, which is a frieze in 
coral color with rosetted decoration; supported by buff and gilt Corin- 
thian columns; below is a small floral medallion, on each side of which 
are two small coral and gold panels surrounding a garland of leaves. 
Top has a wide gold band and two scroll mask-head handles. (2) 

Height, 16 inches. 

[SEE ILLUSTRATION, PAGE 10] 


12 


974 TWO IMPORTANT ENGLISH SOLON MINTON PORCELAIN 


98 


99 


100 


101 


102 


VASES 
Bulbous-shaped body, the front decorated with draped dancing female 
classical figures; above are winged amorini; gilt scroll handles. On 
square ormolu base with inset panels in a scroll design. (2) 
[SEE ILLUSTRATION | 


VERY IMPORTANT DOUBLE-HANDLED MINTON PORCELAIN 
FLOWER URN BY SOLON 

Broad bulbous body invested with a relief decoration of white glazed 
jasper depicting, on one side, the Nine Muses surrounding, in a semi- 
circle, three winged amorini who touch their bare feet with their bows. 
The reverse with a flock of nine flying Genii, preceded and pursued by 
similar flocks and surrounded by flying swallows. The ground is of a 
lustrous mirror-black. The two sides are enriched with two scroll handles 
above two Medusa Heads. The bottom is painted with a Greek running 
border in gold and two tone blue-green. The base and the neck are cov- 
ered with a relief decoration in the classical taste in multicolored enamels 
heightened with gold. 


[SEE ILLUSTRATION | 


THE COLLECTION OF 
OLD ENGLISH SHEFFIELD PLATE, ETC. 


NUMBERS 99-148 


TWO OLD ENGLISH SHEFFIELD THREE-LIGHT CAN- 
DELABRA 
Columnar supports holding two scroll arms; on circular bases in a cal 


design. (2) 


TWO OLD ENGLISH SHEFFIELD CANDLESTICKS 
Square columns on bases designed with an Adam two-handled urn; gar- 
lands and rams’ heads. (2) 


OLD ENGLISH SHEFFIELD CENTREPIECE . 
Supported by four scroll legs terminating in claw feet; top rim deco- 
rated in a bead and scroll design; holding original Waterford glass dish 


cut in hobnail pattern. 


OLD ENGLISH SHEFFIELD TUREEN AND COVER 
Oval shape, gadrooned edge, on four leaf-carved and scroll feet. Similar 
handles on each end and on cover. 


13 


103 


104 


105 


106 


107 


108 


109 


110 


111 


112 


113 


TWO SMALL OLD ENGLISH SHEFFIELD PLATEAU COVERS 
Oval shape with shell and scroll borders. Leaf-carved and scroll 


handles. (2) 


TWO OLD ENGLISH SHEFFIELD CANDLESTICKS 
Square columns on bases designed with an Adam two-handled urn; gar- 


lands and rams’ heads. (2) 


OLD ENGLISH SHEFFIELD CRUET 
Square base, gadrooned edge. In centre scroll and leaf carved handle; 
fitted with eight old Waterford cut glass bottles, two with silver mounts. 


LARGE OLD ENGLISH SHEFFIELD PLATEAU COVER 


Oval shape with shell and scroll border. Leaf-carved and scroll handle. 


OLD ENGLISH SHEFFIELD FOUR-LIGHT CANDELABRA 

Columnar support with leaf carving on circular base decorated in similar 
manner, holding three scroll arms with flower-carved bobéches and candle 
holders. Centre bobéche and candle holder similar to others. Torch 


finial. 


TWO OLD ENGLISH SHEFFIELD WINE COOLERS 
Urn shape; the lower part with flutings, on circular bases; scroll and 
leaf-carved handles; fitted liners. (2) 


OLD ENGLISH SHEFFIELD CAKE BOWL 
Circular shape with heavy leaf and shell carved edge, ribbon handle, with 
leaf-carved panel in centre. ; 


LARGE OLD ENGLISH SHEFFIELD PLATEAU COVER 
Oval shape, with shell and scroll border. Leaf-carved and scroll handle. 


OLD ENGLISH SHEFFIELD TUREEN AND COVER 

Oval shape, flower and scroll carved edge, supported by legs with shell 
knees, on claw feet. Scroll and leaf-carved handle at each end; similar 
handle on cover. 


LARGE OLD ENGLISH SHEFFIELD FIVE-LIGHT CAN- 
DELABRA 

Tapered columnar support on circular base with gadrooned edge hold- 

ing four scroll-shaped arms with gadrooned edges, bobéches and candle 

holders. Urn-shaped candle holder in centre with pineapple finial. 


TWO OLD ENGLISH SHEFFIELD WINE COOLERS 
Barrel shape; encircled by fluted hooks; shell handles, fitted liners. (2) 


14 


114 


115 


116 


gM bys 


118 


119 


120 


121 


122 


123 


124 


OLD ENGLISH SHEFFIELD THREE-LIGHT CANDELABRA 
Three draped figures on triangular base supporting six scroll-shaped 
arms with leaf-carved bobéches and candle holders. In the centre is a 
circular trelliswork and leaf-carved basket. 


SET OF FOUR OLD ENGLISH SHEFFIELD COASTERS 
Circular shape with shell and flower carved edges ; turned wood bases. (4) 


SET OF TWO OLD ENGLISH SHEFFIELD COASTERS 
Scalloped edges; sides with ornamentation of fretted leaves. Turned 
wood bases. (2) 


TWO OLD ENGLISH SHEFFIELD PLATEAU COVERS 
Oval shape with shell and scroll borders. Leaf-carved and _ scroll 


handle. (2) 


TWO OLD ENGLISH SHEFFIELD CANDLESTICKS 
Square columns on bases designed with an Adam two-handled urn; gar- 
lands and rams’ heads. (2) 


TWO OLD ENGLISH SHEFFIELD CANDLESTICKS 
Square columns on bases designed with an Adam two-handled urn; gar- 
lands and rams’ heads. (2) 


SET OF TWO OLD ENGLISH SHEFFIELD COASTERS 


Circular shape with shell and flower carved edges ; turned wood bases. (2) 


SET OF FOUR OLD ENGLISH SHEFFIELD COASTERS 
Circular shape with shell and gadroon edges; turned wood bases. (4) 


OLD ENGLISH SHEFFIELD THREE-LIGHT CANDELABRA 
Three draped figures on triangular base support three scroll-shaped 
arms with leaf-carved bobéches and candle holders. In the centre is a 
circular trelliswork and leaf-carved basket. 


TWO OLD ENGLISH SHEFFIELD WINE COOLERS 
Urn shape, with leaf and scroll carved edge; fluted underpart; base with 
leaf and scroll carved edge. Scroll shaped handles; fitted liners. (2) 


LARGE OLD ENGLISH SHEFFIELD FIVE-LIGHT CAN- 
DELABRA | 

Tapered columnar support on circular base with gadrooned edge, hold- 

ing four scroll arms with gadrooned edges, bobéches and candle holders, 

centre bobéche and candle holder to match. 


15 


125 


126 


127 


128 


129 


130 


131 


132 


133 


134 


135 


136 


SET OF FOUR OLD ENGLISH SHEFFIELD COASTERS 
Circular shape with shell and gadroon edges. ‘Turned wood bases. (4) 


SET OF FOUR OLD ENGLISH SHEFFIELD COASTERS 
Circular shape with shell and flower carved edges ; turned wood bases. (4) 


OLD ENGLISH SHEFFIELD CENTRE PIECE 
Three draped figures on triangular base supporting trelliswork and leaf- 
carved basket. 


TWO OLD ENGLISH SHEFFIELD PLATE WINE COOLERS 
Square shape; fitted liners; fluted bases and grapevine handles. (2) 


OLD ENGLISH SHEFFIELD PLATE CRUET 
Openwork design on three ball and claw feet, and fitted with four orig- 
inal Bristol glass bottles. 


TWO OLD ENGLISH SHEFFIELD PLATE ENTREE DISHES 
AND COVERS 
Oblong shape. (2) 


TWO OLD ENGLISH SHEFFIELD PLATE ENTREE DISHES 
AND COVERS 
Oblong shape; floral edges and handles. (2) 


TWO OLD ENGLISH SHEFFIELD PLATE ENTREE DISHES 
AND COVERS 
Oblong shape. (2) 


OLD ENGLISH SHEFFIELD PLATE TWO-HANDLED SOUP 
TUREEN AND COVER 
Boat shape; gadrooned edges; scroll and leaf handles. 


OLD ENGLISH SHEFFIELD PLATE EGG STAND 


Fitted with six cups and five spoons. 


TWO OLD ENGLISH SHEFFIELD PLATE TWO-HANDLED 
TUREENS AND COVERS 
Boat-shape; beaded bases and top rims. (2) 


TWO EIGHTEENTH CENTURY ENGLISH SHEFFIELD TWO- 
HANDLED FLOWER VASES 
Gadrooned edges. Mask handles. (2) 


16 


137 


138 


139 


140 


141 


142 


143 


144 


145 


146 


147 


OLD ENGLISH SHEFFIELD TWO-HANDLED SOUP TUREEN 
AND COVER 
Oblong shape; gadrooned edge; leaf handles. 


TWO OLD ENGLISH SHEFFIELD PLATE’ ENTREE DISHES 
AND COVERS 
Oblong shape. (2) 


TWO OLD ENGLISH SHEFFIELD PLATE SAUCE BOATS 
Helmet shape; scroll and leaf handles. (2) 


TWO OLD ENGLISH SHEFFIELD PLATE ENTREE DISHES 
AND COVERS 
Oblong shape. (2) 


OLD ENGLISH SHEFFIELD PLATE TWO-HANDLED CAKE 
BOWL 


Border and handles of floral design; on four claw feet. 


TWO OLD ENGLISH SHEFFIELD PLATE THREE-LIGHT 
CANDELABRA 
Fluted stand with floral borders in relief. (2) 


OLD ENGLISH SHEFFIELD PLATE EPERGNE 
Tray-shaped base, supporting five openwork baskets fitted with five blue 
glass liners. 


TWO OLD ENGLISH SHEFFIELD PLATE ENTREE DISHES 
AND COVERS 
Oblong shape; floral edges and handles. (2) 


TWO OLD ENGLISH SHEFFIELD PLATE SAUCE BOATS 
Helmet shape; scroll and leaf handles. (2) 


OLD ENGLISH SHEFFIELD PLATE TRAY 


Scroll chasing and floral borders; standing on four ball and claw feet. 


OLD ENGLISH SHEFFIELD PLATE TRAY 
Circular shape with gadrooned edge; feet with scroll and floral design. 


147, TWO SMALLER, SIMILAR TO THE PRECEDING © 


(2) 
17 


1478 


147¢c 


147D 


147 


148 


TWO SMALLER, SIMILAR TO THE PRECEDING 
(2) 


EARLY SIXTEENTH CENTURY GERMAN IVORY TANKARD 

' AND COVER 

Carved in a design of winged figures, rams’ heads, eagles, and figure- 

heads in scroll panels and carved all over in a floral and scroll design. 

Chased silver stand supporting ivory stem carved similarly to the 

tankard. Silver cover surmounted by small Bacchanalian seated figure. 
Height, 19 inches. 


EARLY SIXTEENTH CENTURY GERMAN IVORY TANKARD 
Heavily carved tankard representing warrior on prancing horse; draped 
male and female figures; Bacchus; winged cupids and beasts of prey. 
Massive scroll carved mask-head handle. The silver cover and stand are 
chased in a floral and fruit design. The cover surmounted by a carved 
ivory Bacchanalian figure. Height, 19 inches. 


EARLY SIXTEENTH CENTURY GERMAN IVORY TANKARD 
Heavily carved, depicting “The Birth of Christ.” Silver-gilt stand and 
cover chased in a flower and scroll design, cover surmounted by silver 
figure of the infant Christ. Massive silver-gilt figure-head handle. 
Height, 12 inches. 


OLD ENGLISH SHEFFIELD PLATE TABLE 

Top chased in a floral and leaf design with scroll edge and corners; 
apron, sides and reverse decorated similarly. The dies are furnished 
with rams’ heads holding rings. Standing on tapering legs encircled by 
chased festoons of flowers and connected by shaped crossed stretchers 
on the centre of which is an urn. 


18 


SALE MONDAY AFTERNOON, JANUARY TWENTY-NIN TH, AT 2:30 


149 


152 


153 


154 


155 


156 


SECOND SESSION 
NUMBERS 149-303 


OLD ENGLISH FURNITURE AND PAINTED ROOMS 
17TH, 18TH AND EARLY 19TH CENTURIES 


SET OF EIGHT OLD ENGLISH PURPLE GLASS FINGER 
BOWLS 


(8) 


EIGHTEENTH CENTURY ENGLISH SATINWOOD WRITING 
BOX 

Sheraton period. Fold-over style; interior fitted with adjustable writing 

pad, pull-out drawer at side fitted with stationery compartments ; orig- 

inal brass handles. 


TWO VERA EGLOMISE PAINTINGS 
One representing a horse attacked by lion; the other, with lion in the 
background. Circular, fluted marble frames. (2) 


CARVED OAK CUPBOARD 
Moulded and leaf-carved top; front enclosed by two small doors carved 
in a scroll design; on carved columnar supports holding carved under- 


shelf. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WIG STAND 
Chippendale period. Carved circular top with shaped undershelf fitted 
with one drawer; upheld by three scroll-shaped supports standing on 


carved cabriole legs. 


EFIGHTEENTH CENTURY ENGLISH MAHOGANY TRAY 
Chippendale period. Formed by an oblong panel with fretwork gallery. 


EIGHTEENTH CENTURY ENGLISH NEST OF TABLES 
Sheraton period. On turned spindle columns supported by shaped feet. 


EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE 
Chippendale period. Cireular top on turned fluted column, supported by 
three shaped legs carved at the knees. 


19 


157 


158 


159 


160 


161 


163 


164 


165 


166 


EIGHTEENTH CENTURY ENGLISH MAHOGANY LAMP 
STAND. 

Chippendale period. Fluted triangular shape, columnar support, on 

three scroll legs. 


OLD COLONIAL MAHOGANY WORK TABLE 
Octagonal lift-up top, on square tapered legs. 


SMALL SEVENTEENTH CENTURY ENGLISH OAK MARRIAGE 
CHEST 
Moulded cover. Carved front. 


EARLY NINETEENTH CENTURY ENGLISH MAHOGANY BAN- 
NER SCREEN 
Oval red damask banner on pole, supported by tripod spindle base. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR 
Chippendale period. Square shaped legs and stretcher carved in a fret- 
work design. Upholstered and covered with a cotton embroidery of a 
Paisley design. 


SET OF OLD ENGLISH GREEN IVORY HANDLED STEEL 
KNIVES AND FORKS 


Consisting of eleven knives and eleven three pecaeal forks. (22) 


EIGHTEENTH CENTURY ENGLISH OCCASIONAL TABLE 
Fitted with one drawer; fretwork panel; on four cabriole legs carved at 
the knees and terminating in deer-shaped feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY HALF-CIR- 
CULAR CONSOLE TABLE 

Sheraton period. ‘Top inlaid in a shell design. Dies inlaid in a similar 

manner. On four carved and fluted legs. 


EIGHTEENTH CENTURY ENGLISH NEST OF TABLES 
Sheraton period. On turned spindle columns, supported by shaped feet. 


EIGHTEENTH CENTURY ENGLISH CARV 7 MAHOGANY 
ARMCHAIR 

Chippendale period. Carved, shaped arm supports; square legs carved 

in Gothic design. Seat, arms and back upholstered and covered with 

old English gros point in a floral design. 


20 


167 


168 


169 


170 


ia: 


172 


173 


174 


175 


176 


EIGHTEENTH CENTURY ENGLISH ROLL-TOP DESK 
Sheraton period. Interior fitted with small drawers and compartments ; 
two long drawers below. On square tapered legs. 


EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE 
Chippendale period. Circular top with inlaid band of satinwood, on 
turned and fluted column, supported by three shaped legs carved at the 
knees. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST OF 
DRAWERS 
Chippendale period. Top and edge carved in a floral design. Fitted with 


four drawers; base carved in a Gothic design. Original brass handles. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY HAT STAND 
Chippendale period. Turned centre pole supporting twelve arms, on four 
plain scroll feet. 


TWO EIGHTEENTH CENTURY ENGLISH BANNER SCREENS 
Adam period. Banners painted with children in brilliant colors. Gilt 
tripod stands carved in acanthus leaves; scroll feet. (2) 


EARLY NINETEENTH CENTURY ENGLISH MAHOGANY 
GAMING AND WORK TABLE 

Lift-up top forming chess and backgammon board; fitted with one drawer 

with various compartments. Red silk basket below; on tapered column 

standing on four ball feet. 


EIGHTEENTH CENTURY ENGLISH PAINTED BOOK RACK 
Adam period. Three shelves supported by shaped sides; one drawer 
below, fitted with slide, painted with floral festoons, and one door with 
an oval panel painted with amorini. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE 
TABLE 

Sheraton period. Plain mahogany top with inlaid bands of satinwood; 

plain front and sides; rosetted dies ; on square fluted tapering legs. 


EIGHTEENTH CENTURY ENGLISH WALNUT MIRROR 
Queen Anne period. Oblong upright mirror plate; shaped moulded frame. 


OLD FRENCH CARVED AND GILT WOOD SETTEE 
Shaped back with rounded ends; scroll fluted arm supports; front with 
floral carving; on shaped legs. Upholstered and covered. 


21 


177 


178 


179 


180 


181 


182 


183 


184 


EIGHTEENTH CENTURY ENGLISH MAHOGANY OCCA- 
SIONAL TABLE 

Chippendale period. Oblong tray top, fretwork panels on four sides; 

supported by four square tapered legs carved in a Gothic design; fret- 

work spandrels. 


SET OF FOUR MAHOGANY SIDE CHAIRS AND ONE ARM- 
CHAIR 

Hepplewhite period. Oval backs. Shaped front, rosetted dies. On 

square fluted tapering legs. Curved arms on fluted arm supports. 

Seats and backs upholstered and covered. (5) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY DROP-LEAF 
TABLE 


Chippendale period. Carved around edge with acanthus leaves. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER 
CABINET 

Sheraton period. Enclosed by glass door of a Gothic design. Corner 

has wide band of satinwood inlaid; nautilus shell in oval medallion and 

carved in a geometrical design. On stand with square-shaped tapering 

legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST 
Chippendale period. Plain top with edge carved in a leaf design; fitted 
with four drawers; original brass drop handles; on four shaped feet, 
carved in fretwork design. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY GAMING. 
TABLE 
Chippendale period. Folding top with carved edge, supported by cab- 


riole legs; scroll carving at knees. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY ARTIST’S 
TABLE 

Chippendale period. Plain mahogany lyre top with carved leaf edge, 

forming a drawing table. Pull-out front fitted with writing slide and 

containing various compartments and a small drawer; supported by two 

legs carved in a Gothic design with fretwork panel, with edge carved in 

a similar manner ; original brass handles. The whole on four square legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER 
CHAIR 

Chippendale period. Round back, supported by turned columns and two 

shaped splats. On square legs. Loose cushion seat. 


22 


185 


186 


187 


188 


189 


190 


191 


192 


EIGHTEENTH CENTURY ENGLISH WALNUT OCCASIONAL 
TABLE 

Queen Anne period. Figured oyster-wood top, fitted with one drawer. 

On four spiral twisted legs connected by understretcher ; ball feet. 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY TER- 
RESTRIAL AND CELESTIAL WORLD GLOBES 

Chippendale period. Fluted columnar support on three scroll-shaped 

legs, carved in a ribbon and floral design, with stretcher holding com- 


pass. By J. & W. Cary, Strand, London. Dated 1800. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD 
TABLE 
Chippendale period. Supported by column on tripod base. 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY 
TORCHERES 
Shaped tops; turned and tapered columnar supports on three scroll- 


shaped feet. (2) 


SET OF SIX EARLY NINETEENTH CENTURY ENGLISH SIDE 
CHAIRS 

Turned top and side rails, on turned legs connected by similar stretchers. 

Covered with floral needlework. (6) 


EIGHTEENTH CENTURY ENGLISH SATINWOOD BOOKCASE 
Sheraton period. In two portions: the lower as a cupboard enclosed by 
a panelled door with an oval medallion inlaid in kmgwood; the top part 
in the form of a cabinet fitted with shelves enclosed by glazed panelled 
door. Surmounted by arched and moulded cornice. 


EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 
COMMODE 

Adam period. Shaped top with leaf-carved edge; fitted with two glass 

panelled doors enclosing cabinet ; dies framed by ram’s head holding fes- 

toons in which are carved rosettes; panelled sides on shaped base; leaf 


and scroll carved edge. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING 
CHAIR 

Chippendale period. On square legs carved in Gothic designs. Seat and 

back upholstered and covered in crewel work. 


23 


193 


194 


195 


196 


197 


198 


199 


200 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE 

TABLE . 
Chippendale period. Rectangular top with moulded edge. Apron with 
shell carving in centre surrounded by leaf and scroll carving. On cab- 
riole legs with shell carving at the knees, and terminating in scroll feet. 
The top has inset gray marble top. 


EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 
HALL CLOCK 
Chippendale period. Case in the shape of a Gothic arch. 


EIGHTEENTH CENTURY CARVED WOOD AND GILT MIRROR 
Chippendale period. Oblong mirror plate; mahogany frame, with gilt 
leaf and scroll carving in relief. 


TWO EIGHTEENTH CENTURY ENGLISH GILT WOOD POLE 
SCREENS 

Adam period. Gilt pole supported by urn-shaped column; standing on 

three fluted curved legs. Oval panel representing a bouquet of flowers 

worked in various colored silks on a cream satin ground. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY DINING 
TABLE 
In two parts, each part resting on three shaped legs. 


SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY 
SIDE CHAIRS 

Adam period. Back formed by shaped top rail with fluted and rosetted 

carving, on curved supports; fluted horizontal splats; turned tapering 


legs. (6) 


OLD ENGLISH SATINWOOD CORNER CUPBOARD 
Enclosed by four panelled doors painted with baskets of flowers, garlands 
and musical trophies; surmounted by painted scroll cornice. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE 
Adam period. Shaped top painted with a design of floral festoons and 
surrounded by a deep border of flowers, on a green ground; fitted with 
one long and two small shaped drawers, with floral festoons; one large 
and two small cupboards below, enclosed by panelled doors, with painted 
festoons and floral bouquets. On four turned feet. 


24 


202 


208 


207 


208 


EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND 
GILT MIRROR 

Queen Anne period. Oblong mirror plate; shaped frame; scroll and 

leaf carving below. Surmounted by shell pediment, with eagles’ heads at 

each side. 


EIGHTEENTH CENTURY ENGLISH THREE-FOLD PAINTED 
LEATHER SCREEN 

Each fold decorated with a painted panel representing a drinking scene, 

in the style of Teniers. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY 'THREE- 
BACK SETTEE 

Chippendale period. Square backs with leaf carving on top, carved 

fluted centres. Shaped arms terminating in scrolls; shaped arm sup- 

ports. Front and legs carved in fretwork design; stretcher supports. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- 
ETTE 

Georgian period. Circular shape with wide carved leaf border; the front 

carved with rosettes and draperies; on carved circular base. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE 
Chippendale period. Plain top with moulded edge; apron and sides 
carved in a fretwork design; rosetted dies; supported by four triangular 
shaped legs carved in a similar manner and connected by spandrels of 
a fretwork design. 


TWO ADAM CRYSTAL FIVE-LIGHT WALL APPLIQUES 

Centre stem supporting inverted bobéche, from which hang draped 
pendants. Centre bowl supports five curved arms holding star bobéches 
and glass candleholders. Back formed by shield-shaped mirror sur- 
rounded by blue glass. (2) 


SMALL CRYSTAL CHANDELIER 
Draped from the top, forming bowl at the bottom. 


SET OF THREE EIGHTEENTH CENTURY ENGLISH PAINTED 
SIDE CHAIRS 

Adam period. Shield-shaped backs with leaf decoration; square tapered 

legs with shaped understretcher decorated in a similar manner. Seats 

upholstered and covered with green material. (3) 


25 


209 


211 


215 


EIGHTEENTH CENTURY ENGLISH MAHOGANY LIBRARY 
TABLE 

Sheraton period. Circular top covered with original leather ; fitted with 

four drawers and dummy drawers; turned columnar support, on four 

shaped fluted legs terminating in brass claw feet. 


EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 
CORNER CHAIR 

Hepplewhite period. Half circular leaf-carved back, supported by three 

turned columns and fluted splats; fluted aprons; rosetted dies; square 

tapered legs connected by understretchers. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY ARMCHAIR 
Chippendale period. Shaped arm supports carved in a Gothic design. 
Square legs carved in a similar manner. Seat, back and arms uphol- 
stered and covered in green silk. 


TWO NINETEENTH CENTURY ENGLISH TERRESTRIAL AND 
CELESTIAL WORLD GLOBES 

On carved mahogany tripod stands connected by understretchers hold- 

ing compass. By Newton & Sons, London. Dated 1850. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TALLBOY 
ON STAND 

Chippendale period. Top part composed of two small and three large 

drawers, original brass drop handles, surmounted by carved cornice. On 

stand carved in a Gothic design, with legs carved in a similar manner. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY LAMP 
STAND 
Georgian period. Shaped top; turned support on three scroll legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY FIRE 
SCREEN 

Adam period. Square frame, holding satin panel worked in leaves and 

flowers in silks of various colors; surmounted by an urn holding festoons 

of leaves. 


TWO EIGHTEENTH CENTURY SATINWOOD CONSOLE 
TABLES 

Adam period. Tops inlaid with broad band of mahogany; apron and 

sides inlaid with ebony in a geometrical design; shaped legs supporting a 

shelf on ram’s-head feet. (2) 


217 


220 


221 


222 


223 


224 


EIGHTEENTH CENTURY ENGLISH WALNUT WING CHAIR 
Queen Anne period. Cabriole legs, carved at the knees and terminating 
in ball and claw feet. Upholstered and covered in light green silk. 


EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE 
Chippendale period. Shaped tray top on turned and fluted column, 
supported by three shaped fluted legs. 


EARLY COLONIAL MAHOGANY CARD TABLE 
Folding top; inlaid bands of satinwood; fluted columnar support, on 
four inlaid scroll feet supporting understretcher. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BAROM- 
ETER 

Sheraton period. Banjo shape, with barometer dial below, inscribed by 

the maker, Hancock, Nottongham. Above is a clock, the case inlaid 

with bands of satinwood and surmounted by brass urn finial. 


TWO SEVENTEENTH CENTURY ENGLISH SIDE CHAIRS 
Stuart period. Backs formed by turned spindle rails with urn-shaped 
finials. The splats and top rails carved A jour in scrolls, rosettes 
and shells. Slender front supports, on bell and baluster shaped legs. 
Shaped and moulded underframing with urn in centre. (2) 


EARLY COLONIAL MAHOGANY CARD TABLE 
Folding top ; inlaid bands of satinwood; fluted columnar support, on four 
inlaid scroll feet supporting understretcher. 


SET OF FIVE PAINTED QUEEN ANNE WAINSCOT PAPER 
PANELS 
In the Chinese style, covered with an all-over pattern of crysanthemums 
and low flowered bushes in soft-colored distempers of rouge d’or and 
green, with brilliant pheasants, tropical birds, parrots and butterflies, 
on a cream-colored ground. (5) 
Size of panels, 10 feet 6 inches x 8 feet. 
10 feet 6 inches x 7 feet V inches. 
10 feet 6 inches x 10 feet 10 inches. 
10 feet 6 inches x 10 feet. 
10 feet 6 inches x 10 feet 4 inches. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY THREE- 
FOLD SCREEN 

Hepplewhite period. Oblong frame; corners with carved scroll design, 

holding oval panel with beaded edge; carved legs. 


27 


225 


226 


play av 


228 


bo 
bo 
© 


230 


EIGHTEENTH CENTURY ENGLISH LACQUER CABINET ON 
STAND 

Queen Anne period. The upper part composed of two large and seven 
smaller drawers decorated with a design of small houses surrounded by 
trees, flowers and birds in gold on a black ground. The stand deco- 
rated with gold bands and supported by cabriole legs with a similar 
decoration. (From the Collection of the Earl of Carnarvon, Bretby 
Hall.) 


EIGHTEENTH CENTURY ENGLISH DINING TABLE 
Chippendale period. Plain top with moulded edge carved in a leaf and 
scroll pattern; centre part with drop leaves at either end; supported by 
four square tapered legs; shaped ends supported by legs of a similar 
nature. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY FLOWER 

STAND ~ | 
Georgian period. Octagonal top with leaf-carved edge. Sides with 
carved wreaths of flowers. Original mask-head drop handles. On four 
square tapered legs. 


TWO EIGHTEENTH CENTURY ENGLISH WALNUT STOOLS 
Queen Anne period. Oblong shape with rounded ends; supported by 
four cabriole legs carved at the knees, standing on club feet and con- 


nected by turned understretcher ; slip seat upholstered and covered in a 
flowered brocatelle. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SETTEE 
Chippendale period. Shaped arms carved in a leaf and scroll design; on 
four square-shaped, carved and fluted legs connected by understretcher. 
Overstuffed back, upholstered and covered in a red floral damask. 


EARLY NINETEENTH CENTURY ENGLISH PAINTED DAY 
BED 

Scroll ends decorated with a circular panel representing Chinese fig- 

ures in gold on a black ground; on four curved legs. Upholstered and 

covered in red silk; loose cushion seat. 


28 


[231] 


231 TWO EIGHTEENTH CENTURY CARVED WOOD AND GILT 
CONSOLE TABLES 
Georgian period. Shaped carved tops supported by carved eagle on a 
formation of rocks; oblong bases; original Sienna marble top. (2) 
(From the Collection of the Lady Carlisle, Palace Gardens, London, 
England.) 


[SEE ILLUSTRATION | 


232 TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY PED- 
ESTALS 
Georgian period. Plain tops with moulded leaf-carved edges; below is a 
cupboard with bottle stands and one drawer, fitted with liners ; enclosed 
by a panelled door with flower carvings in corners and, in the centre, a 
leaf and floral wreath. (2) 


748) 


235 


236 


237 


238 


239 


EIGHTEENTH CENTURY ENGLISH SATINWOOD SIDEBOARD 
Sheraton period. Upper part formed by two shelves supported by 
turned spindles; top inlaid with band of mahogany; lower part fitted 
with one large and two small drawers, with original brass knobs; one 
large and two small cupboards below, enclosed by panelled doors. On 
turned legs. 


EIGHTEENTH CENTURY ENGLISH CARVED AND PAINTED 
WOOD MANTELPIECE 

Adam period. Painted red mantelpiece composed of pilasters in the form 

of fluted columns, with capital enrichments of carved classical figures ; 

the frieze bears the key panel representing three classical figures with 

scroll and leaf carving on either side; moulded top with leaf carving. 


OLD ENGLISH ADAM OVERMANTEL 

Top part in the form of a painting of cupids in the style of Boucher; 
one large and two small mirror plates below. The whole encircled by a 
gilt moulded frame. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CENTRE 
TABLE 

Chippendale period. Plain mahogany top with floral carved edge; apron 

and ends carved in the centre with floral medallions connected by scroll 

carving; supported by four triangular shaped legs carved in a Gothic 

design and connected by spandrels carved in a similar manner. 


EIGHTEENTH CENTURY ENGLISH PLATE AND KNIFE 
STAND 

Chippendale period. Spindle gallery; on four turned legs connected by 

turned understretcher. (From the Collection of the Lord Chesham, 

Chesham, Bucks., England.) 


EIGHTEENTH CENTURY ENGLISH PAINTED FOUR-TIER 
WHATNOT 

Sheraton period. Each tier decorated in a floral and leaf design and 

supported by spindle columns on similar feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY URN 
Sheraton period. Body of a latticework design on base with striped 
inlay of mahogany and satinwood; on three shaped legs forming tripod ; 
original brass handle and rim. 


30 


240 


242 


243 


244 


245 


247 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- 
ETTE 

Chippendale period. Sides carved; fitted with one small and one large 

drawer; on four block feet; brass handles at sides. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY ARTIST'S 
TABLE 

Sheraton period. Fitted with one drawer and writing slide; supported 

by carved tripod stand. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WIG STAND 
Chippendale period. Carved circular top; beneath, a small compartment 
enclosing two small drawers; surmounted by bowl and cover. On tripod 
stand connected by three carved legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TIP-TOP 
TABLE 
Chippendale period. Circular top, with carved leaf and shell border ; 


turned column, supported by three curved legs carved at knees. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD HALF-CIR- 
CULAR CONSOLE TABLE 

Adam period. Top inlaid with wide band of harewood. Apron divided, 

forming two cupboards enclosed by shutters inlaid with bands of hare- 

wood and an oval medallion of an urn in the centre. On three square 


tapered legs. 


TWO EIGHTEENTH CENTURY ENGLISH PAINTED SATIN- 
WOOD ARMCHAIRS 

Adam period. Shaped top rail, with panel painted with flowers; centre 

panel painted in a similar manner; shaped arms supported by turned 

rests; front and sides painted with flowers; turned legs similarly painted. 


(2) 


EIGHTEENTH CENTURY ENGLISH LADY’S MAHOGANY OC- 
CASIONAL TABLE 

Sheraton period. Oblong top, inlaid with bands of satinwood; front and 

sides inlaid in a leaf pattern, surrounded by bands of satinwood. On 

lyre-shaped support connected by shaped understretcher. Standing on 

four brass claw-shaped feet. 


SET OF SIX OLD ENGLISH CHIPPENDALE CHAIRS 


Square backs with carved lyre-shaped centre. On square legs. (6) 


dl 


249 


250 


253 


254 


EIGHTEENTH CENTURY ENGLISH MAHOGANY KNEEHOLE 
DESK 

Chippendale period. Plain mahogany top, edge with carved acanthus 

leaves ; pedestal panel supports; fitted with ten drawers, and standing on 

eight carved feet. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE 
Sheraton period. Half moon shape; top inlaid in the centre with an oval 
medallion of a classical figure held in reserve by wreaths, festoons and 
scrolls. Wide border inlaid with flowers and leaves with nautilus shell in 
the centre. One large door below, inlaid with a female figure under a 
canopy and surrounded by festoons of leaves and flowers. Side panels 
inlaid with urns holding flowers, encircled by wreaths and leaves. 


EIGHTEENTH CENTURY FRENCH MAHOGANY LADY’S 
DRESSING TABLE 

Lift-up top fitted with mirror, three drawers and one dummy drawer; 

ormolu escutcheon plates; on turned and tapered legs. 


EIGHTEENTH CENTURY ENGLISH. SATINWOOD SECRE- 
TAIRE BOOKCASE 

Sheraton period. Upper part formed as a cabinet enclosed by two glass 

doors and surmounted by an arched cornice; lower part fitted as a 

secrétaire, with small drawers and compartments, below which are three 

long drawers with original brass ring handles. 


TWO EARLY NINETEENTH, CENTURY ENGLISH POLE 
SCREENS 

Poles painted with a geometrical design and standing on ball, which rests 

on circular base decorated in a leaf and flower design on a cream- 

colored ground. Panels in white and gold frame are composed of birds 

and flowers worked in brilliantly colored wools on a cream ground. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE 
TABLE 

Chippendale period. Oblong top with carved edge; carved moulding 

under apron; dies with fleur de lys; circular fluted tapering legs. 


EIGHTEENTH CENTURY CHINESE EIGHT-FOLD PAINTED 
PAPER SCREEN 

The entire screen forms a continuous composition of the Imperial Flying 

Dragon with snake bodies in brilliant colors on a blue ground, covered 

with a pattern of conventionalized clouds in rainbow hues; beneath ap- 

pears a running guilloche border of jade-green and white. 


32 


255 


258 


260 


261 


262 


263 


264 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD 
TABLE 

Chippendale period. Circular top with moulded edge; on turned col- 

umn supported by cabriole legs carved at the knees. Duck feet. 


EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND 
GILT MIRROR 

Queen Anne period. Oblong mirror plate surrounded by a leaf and scroll 

carved frame. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CENTRE 
TABLE 

Chippendale period. Tray top; aprons and sides carved in a fretwork 

design ; on four square-shaped legs carved in a similar manner, connected 

by stretchers; fretwork spandrels. 


TWO EIGHTEENTH CENTURY MAHOGANY KNIFE BOXES 
Sheraton period. Fitted interiors. (2) 


EIGHTEENTH CENTURY ENGLISH NEST OF TABLES 
Sheraton period. Turned spindle columns supported by shaped feet. 


EIGHTEENTH CENTURY ENGLISH LADY’S MAHOGANY 
WRITING DESK 

Sheraton period. Folding top inlaid with bands of satinwood; fitted 

with four drawers, brass ring handles; below are two larger drawers, 

with satinwood inlay in a geometrical design; on four square-shaped 

tapering legs inlaid in a similar manner. 


EIGHTEENTH CENTURY ENGLISH SOFA TABLE 

Adam period. Oblong top with half round fall-down ends painted in the 
centre with a floral wreath, surrounded by a wide floral border ; on lyre- 
shaped support; carved legs terminating in carved feet. 


EIGHTEENTH CENTURY ENGLISH NEST OF TABLES 
Sheraton period. On turned spindle columns supported by shaped feet. 


SET OF SIX OLD ENGLISH RUSH-SEATED CHAIRS 
Spindle and turned backs. On turned legs connected by understretchers. 


(6) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD 
TABLE 
Chippendale period. Shaped fold-over top with carved edge; on four 


triangular shaped legs. 


33 


266 


267 


269 


270 


EIGHTEENTH CENTURY ENGLISH PAINTED SATINWOOD 
WINDOW SEAT 

Adam period. Scroll ends supporting fretwork panels with painted clas- 

sical figures and flowers; on square-shaped tapering legs; seat uphol- 

stered and covered. 


EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 
TUB CHAIR 

Chippendale period. On cabriole legs carved at the knees and terminat- 

ing in ball and claw feet. Upholstered and covered in red silk. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WRITING 
TABLE 

Chippendale period. Original leather top; edge carved in a floral and 

scroll design. Fitted with two large drawers with original brass handles; 

supported by four triangular-shaped legs; carved fretwork design, con- 

nected scroll spandrels. 


WATTEAU ROOM 
French painted wainscot room composed of five upright panels and one 
overdoor. The uprights are each designed with bold rocaille scrolls of 
black and rouge d’or in the Chinese style, containing at the top car- 
touches of vividly colored macaws and cockatoos. In the centre are Wat- 
teau subjects of male and female figures in engaging Louis Quinze cos- 
tumes of brilliant orange, blue, and coral, with a background of trees, 
rocks, and architecture, against a blue-green ground alive with animation. 
Size of one panel, 9 feet 3 inches x 2 feet 6 inches. 
Size of four panels, 9 feet 3 inches x 8 feet 1 inch each. 
Size of overdoor, 2 feet 4 inches x 8 feet 6 inches. 

[SEE ILLUSTRATION | 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE 

Sheraton period. Upper part as a cabinet in three sections enclosed by 
glass doors and surmounted by a cornice inlaid with festoons and urns. 
Base fitted with one large and two small drawers, below which are cup- 
boards enclosed by panelled doors. Inlaid side panels. On moulded base. 


EIGHTEENTH CENTURY ENGLISH WALNUT OCCASIONAL 
TABLE 


Queen Anne period. Oblong top fitted with one drawer; on four turned 
columns connected by square understretcher and supported by ball feet. 


34 


THE WATTEAU ROOM 
[268] 


273 


274 


275 


276 


277 


279 


280 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BIRDCAGE 
Sheraton period. Dome shape; supported by fluted columns; base in- 
laid with satinwood in the form of nautilus shells. 


EIGHTEENTH CENTURY ENGLISH CARVED AND PAINTED 
WOOD GARDEN SEAT 

Georgian period. Shaped back carved with a design of an urn and 

surrounded by festoons and scrolls; scroll-shaped arms supported by 

lions; seat with carved shell edge; on scroll legs carved in a leaf design. 


EIGHTEENTH CENTURY ENGLISH GARDEN TABLE 

Georgian period. Circular top supported by curved legs, the tops of 
which are in the form of eagles with outspread wings, and hold shaped 
undershelf. On ball and claw feet. Green marble top. 


TWO SEVENTEENTH CENTURY ENGLISH OAK HALL 
CHAIRS 

High back formed by shaped top rail and fluted splats; turned stretchers 

and legs. (2) 


SET OF FOUR EARLY ENGLISH OAK HALL CHAIRS 
Square shaped turned spindle backs. On four turned legs connected 
by stretchers. Plain moulded wooden seats. (4) 


SEVENTEENTH CENTURY WELSH OAK DRESSER 
Upper part formed by three moulded shelves, moulded top; fitted with 
small drawers below; square tapered legs. 


EIGHTEENTH CENTURY ENGLISH OAK GATELEG TABLE 
Two flaps supported by four turned legs connected by plain stretcher. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TWO-TIER 
WAITER 


Chippendale period. Triangular-shaped top and base, carved at the 


sides ; on three carved cabriole legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD 
TABLE 


Sheraton period. Lift-up top, inlaid bands of satinwood; apron and 


sides inlaid in a similar manner. Carved and fluted diamond-shaped dies. 
On four turned tapering legs. 


EIGHTEENTH CENTURY ENGLISH NEST OF TABLES 


Of the Sheraton period. Turned spindle columns supported by shaped 
feet. 


36 


4 
is 
4 
: 
4 
i 
i 
4 
i 


THE WILLIAM KENT BOOKCASE 
[281] 


281 AN EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD BOOKCASE BY WILLIAM KENT 

The upper part composed of a cabinet enclosed by a glass panelled door, 

the frame of which is moulded and carved in a leaf design; above and 

at the sides are festoons of flowers, leaves and fruit held by bow knots. 


The cabinet frame is carved at the edges with a design of leaves and 


37 


282 


283 


284 


286 


288 


beadwork ; surmounted, in the centre and at either end, by square pedi- 
ments, the edges of which are carved similarly to those of the cabinet. 
The lower part is also in the form of a cabinet, with moulded edges, en- 
closed by two panelled doors, above and at the sides of which are intri- 
cate carvings representing flowers, fruit and leaves. On moulded base. 
The framework of the entire creation is painted black; the carvings, 
finely executed in relief, are gilded. 
[SEE ILLUSTRATION | 


EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 
ARMCHAIR 

Chippendale period. Arm supports carved in Gothic design; square legs 

carved in a similar manner. Seat and back upholstered and covered in 

green silk. 


EIGHTEENTH CENTURY ENGLISH HALF-CIRCULAR CON- 
SOLE TABLE 

Sheraton period. Inlaid with bands of satinwood; on four turned and 

tapered legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST OF 
DRAWERS 

Chippendale period. ‘Top edge carved in acenthus leaves. Fitted with 

three drawers, with original brass handles. 


TWO EIGHTEENTH CENTURY ENGLISH MINIATURE 
DRESSING SCREENS OF THE SHERATON PERIOD 

On columnar supports resting on a shaped footstool covered with bead 

needlework of a later period, and fitted with a protruding shaped shelf 


which is surmounted by a three-fold glazed screen; original pear-drop 
handles. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY DAY BED 
Chippendale period. Leaf-carved scroll-shaped ends. Supported by 


square legs carved in a scroll design. Cane seat with loose cushion. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD CUPBOARD 


Sheraton period. Top inlaid with bands of ebony ; fitted with two pan- 
elled doors. 


KIGHTEENTH CENTURY ENGLISH MAHOGANY LAMP 
STAND 


Chippendale period. Square top on turned and fluted tapering column ; 
supported by three scroll-shaped legs. 


38 


290 


291 


294 


295 


296 


EIGHTEENTH CENTURY ENGLISH MAHOGANY LADY’S 
WORK TABLE 

Top fitted with compartment enclosed by slide; on each side are two 

smaller compartments with lift-up tops; surrounded by brass gallery 

and supported by lyre-shaped supports; terminating in ormolu-mounted 

scroll feet. 


EIGHTEENTH CENTURY ENGLISH BANNER SCREEN 
Chippendale period. Petit point needlework banner. On turned and 
carved mahogany tripod stand; claw feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY LAMP 
STAND 

Shaped top; turned and tapering columnar support on three carved 

legs terminating in claw feet. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD CARD 
- TABLE 

Sheraton period. Semi-circular shape; lift-up top to form round table; 
centre painted in a shell design; border painted with leaves and flowers ; 
apron inlaid with harewood; supported by four square shaped tapering 
legs painted in a manner similar to that of the top. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY FIRE 
SCREEN 

Sheraton period. Two square fluted columns hold a blue silk damask 

panel; brass scroll arms support shelf; fluted understretcher on curved 


fluted legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD 
TABLE . 

Chippendale period. Edge carved in a scroll and leaf design. Four 

cabriole legs, with club feet. 


EIGHTEENTH CENTURY ENGLISH LADY’S MAHOGANY 
WORK TABLE \ 

Sheraton period. Kidney-shaped lift-up top, with fitted interior; top 

has oval mirror plate in mother-of-pearl frame; pull-out bag; on scroll 

and turned supports connected by ormolu-mounted claw feet. 


EARLY NINETEENTH CENTURY ENGLISH TOLE WARE 
TRAY 


Centre formed by large panel of flowers surrounded by floral border. 


39 


20F 


298 


300 


301 


302 


303 


COLLECTION OF OLD ENGLISH GREEN IVORY HANDLED 


CUTLERY 
Set of 5 small knives and forks; 5 large knives and forks; 4 forks; carv- 


ing fork; cheese scoop; fish slice. (27 pleces ) 


EIGHTEENTH CENTURY ENGLISH LACQUER TABLE WRIT- 


ING DESK * 
Drop front, fitted with five drawers, with one large drawer below. The 
whole decorated in a raised gold lacquer design of figures, pagodas, boats 


and trees. 


SET OF NINE OLD BOHEMIAN BLUE AND PURPLE CUT 
GLASS TUMBLERS 
Fluted and diamond cut pattern. (9) 


SET OF TWELVE OLD ENGLISH BLUE GLASS FINGER BOWLS 
(12) 


EARLY ENGLISH STRAW-WORK GROUP 
Representing a bouquet of flowers in a basket, enclosed in a shields ones 


painted and gilt frame. 


SEVENTEENTH CENTURY ENGLISH OAK BIBLE BOX ON 
STAND 
Moulded lift-up top. Apron and sides carved in a leaf design. Stand 


composed of turned legs connected by similar stretchers. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY COAL URN 
AND COVER 

Sheraton period. Body and cover Ae a latticework design. Cover sur- 

mounted by pineapple finial and brass band; tripod stand. ona 

brass liner and handle. 


40 


SALE TUESDAY AFTERNOON, JANUARY THIRTIETH, AT 2:30 


304 


305 


306 


308 


309 


THIRD SESSION 


NUMBERS 304-470 


THE COLLECTION OF 
DECORATED AND MARQUETERIE COFFERS 


NUMBERS 304-321 


TWO EIGHTEENTH CENTURY ENGLISH BOXES 
One, satinwood painted with flowers; silver handle. The other, hare- 
wood with gilt decorations. (2) 


EIGHTEENTH CENTURY ENGLISH SATINWOOD OCTAG- 
ONAL BOX 


Top decorated with a large floral bouquet and surrounded by gilt and 
floral border. 


SEVENTEENTH CENTURY ENGLISH OAK BIBLE BOX ON 
STAND 
Carved sides and front with the initials R. K.; dated 1673. Fitted with 


one drawer. ‘Turned legs, connected by understretchers. 


SEVENTEENTH CENTURY ENGLISH OAK BIBLE BOX 
Lift-up top. Front carved in a floral and scroll design, with the initials 
R. K. 


EIGHTEENTH CENTURY FRENCH MINIATURE SECRE- 
TAIRE | 

Louis Seize period. Ormolu mounted. Interior fitted with two small 

drawers and writing compartment; drop front, with two large drawers 

below; on four shaped legs. 


EIGHTEENTH CENTURY ENGLISH LADY’S SATINWOOD 
WORK BOX 

Adam period. Toop decorated with a panel representing female figures, 

on a sea-green ground, surrounded by leaf border. Interior of cover 

fitted with mirror plate and box with one drawer. 


41 


310 


311 


old 


316 


317 


318 


319 


TWO EIGHTEENTH CENTURY ENGLISH BOXES 
One, satinwood, painted with flowers; the other, satinwood, painted and 


inlaid with an oval shell design. (2) 


TWO EIGHTEENTH CENTURY ENGLISH BOXES 
One, satinwood, with oval medallion painting on cover. ‘The other, 


painted wood with transfer decoration. (2) 


EIGHTEENTH CENTURY ENGLISH BOX 
Adam period. Top painted with an oval panel, draped female figures ; 


fitted with one drawer. 


TWO EIGHTEENTH CENTURY ENGLISH WORK BOXES. 
One, of the Sheraton period, decorated with views. The other, Adam 
period, with top painted with oval medallion and floral borders. (2) 


EIGHTEENTH CENTURY ENGLISH WRITING AND WORK 
CABINET 

Adam period. The top is painted with hexagonal panel of draped and 

winged cupid. One drawer fitted with various compartments. 


EIGHTEENTH CENTURY ENGLISH BOX 
Adam period ; the top painted with figure of a young woman playing with 
a young girl; sides with painted wreaths of flowers and scroll. 


EIGHTEENTH CENTURY ENGLISH WORK BOX 
Sheraton period; top and sides inlaid with bands of satinwood; fitted 
with one drawer and ringed mask-head handles. 


TWO VERY INTERESTING OLD ENGLISH WORK BOXES 
One with top and sides painted with flowers; the other with views of 
Brighton. (2) 


TWO EIGHTEENTH CENTURY ENGLISH TEA CADDIES AND 
AN EIGHTEENTH CENTURY ENGLISH SATINWOOD BOX 

A. Sheraton period; borders inlaid with bands of kingwood. 

B. Top and sides painted with flowers and festoons. 


C. Box of the Sheraton period; front inlaid with vase, cover with 
butterfly. (3) 


TWO EIGHTEENTH CENTURY ENGLISH WRITING BOXES 
One, of the Sheraton period, in satinwood; the other Adam period, with 
top decorated with oval panel. (2) 


42 


320 


ied) 
bo 
— 


324 


325 


326 


EIGHTEENTH CENTURY ENGLISH SATINWOOD LADY’S 
WORK BOX 

Sheraton period; borders inlaid with bands of kingwood; lions’ heads in 

the form of handles; standing on four ball and claw feet; fitted with one 

drawer. The interior fitted with small compartments and original - 


bobbins. 


OLD ENGLISH MAHOGANY CHURCHWARDEN®Y’ PIPE STAND 
Rack inlaid with brass and mother-of-pearl; front and sides inset with 
panels of beadwork. 


THE COLLECTION OF 
NEEDLEWORK AND EMBROIDERY PICTURES, ETC. 


NUMBERS 322-348 


TWO EIGHTEENTH CENTURY ENGLISH SILKWORK PIC- 
TURES 

One, representing flowers on a cream colored ground. ‘The other rep- 

resenting flowers on a black ground. Gilt frames. (2) 


RARE SEVENTEENTH CENTURY ENGLISH STUART STUMP 
AND EMBROIDERED LADY’S WORK BOX 

The exterior fitted with two doors, hinged lid and covered on all sides 
with a variety of scenes embroidered in crewels and silks with heraldic 
beasts, their eyes formed of fine pearls. The figures dressed in silver 
thread and silk embroidered robes, with features drawn in India ink. 

Original silver handles. The doors are lined and the interior is fitted 
with a number of small drawers. Top and inside drawers covered with 


a contemporary embossed Chinese rice paper. 


TWO EIGHTEENTH CENTURY ENGLISH NEEDLEWORK PIC- 
TURES 


Floral design on a black ground; carved and gilt oval frames. (2) 


TWO EIGHTEENTH CENTURY ENGLISH SILKWORK PIC- 
TURES 

One, representing a female figure holding flowers. The other, a female 

figure holding a dog. Signed Werter. Dated 1794. In carved wood 

and gilt frames. (2) 


EIGHTEENTH CENTURY ENGLISH BEADWORK GROUP 
Representing finely executed flowers in a two-handled wool urn. Gilt 
frame. 


43 


ee) 
nD 
~t 


328 


329 


330 


331 


332 


333 


334 


335 


336 


TWO EIGHTEENTH CENTURY ENGLISH NEEDLEWORK PIC- 


TURES 
One, oval shape, representing parrot and flowers in brilliant colors. The 


other, floral sprays and butterflies, on a black ground. Gilt frames. (2) 


EIGHTEENTH CENTURY ENGLISH NEEDLEWORK PICTURE 
The Village Shoemaker, The Huntsman, The Traveller. In gilt frame. 


TWO EIGHTEENTH CENTURY ENGLISH GLASS TRANSFER 
PICTURES 
Oval shape. (2) 


EIGHTEENTH CENTURY ENGLISH WATER-COLOR 
Representing a bouquet of flowers; inscribed “R. Little, age 18 years.” 
Dated 1794. In gilt frame. 


TWO EIGHTEENTH CENTURY ENGLISH NEEDLEWORK PIC- 
TURES | 

One, oblong shape, representing flowers in brilliant colors. The other, 

oval shape, representing flowers and butterflies. In gilt frames. (2) 


EARLY NINETEENTH CENTURY ENGLISH BIRCH BARK PIC- 
TURE 

Representing the entrance to St. Vincent’s. Composed of a tower and 
houses with trees and small figures. Signed Daromont and dated 1819. 
In original carved and gilt frame. 


TWO EIGHTEENTH CENTURY ENGLISH SILKWORK PIC- 
TURES 


Representing female figures; one as Justice, the other Vanity. (2) 


THREE EARLY NINETEENTH CENTURY ENGLISH 
FEATHER PICTURES 


Representing exotic birds. In gilt frames. (3) 


TWO EARLY NINETEENTH CENTURY ENGLISH NEEDLE- 
WORK PICTURES 


Representing baskets of fruit and flowers. (2) 


TWO OLD ENGLISH PANELS 


One a sampler, Sarah Noubles, York, 1804; the other representing fruit 
and birds on a café-au-lait ground. (2) 


44 


337 


338 


340 


341 


342 


343 


344 


345 


EARLY NINETEENTH CENTURY ENGLISH NEEDLEWORK 
PICTURE 


Representing ducks. In gilt frame. 


EARLY NINETEENTH CENTURY ENGLISH SILKWORK PIC- 
TURE 


Representing a female figure seated in the shade of a tree. Gilt frame. 


EARLY NINETEENTH CENTURY ENGLISH FEATHER PIC- 
TURE 


Representing two parroquets perched on tree. In gilt frame. 


TWO OLD ENGLISH SILKWORK PICTURES 
One worked with a design of a lady; the other a bouquet of flowers. In 
original oval gilt frames. (2) 


TWO ENGLISH NEEDLEWORK PICTURES 

One in the shape of a shield with oval panel; girl with sheaf of wheat on 
her head and a sickle in her hand; black frame. ‘The other an oval panel, 
parroquet on tree, in gilt frame. (2) 


TWO OLD ENGLISH SILKWORK PICTURES AND A FRAME 
CONTAINING FRAGMENTS OF OLD LACE 


(3) 


TWO EIGHTEENTH CENTURY ENGLISH NEEDLEWORK PIC- 
TURES 

One, oval, in the design of a basket of flowers. The other, oblong shape, 

with design of a parroquet on a chocolate-colored background. (2) 


TWO EARLY ENGLISH COLORED PRINTS BY ROBERT 
SAYER, LONDON 
King George III of Great Britain and Queen Charlotte. Surrounded 


by gilt metal scrollwork and enclosed in gilt wood frames. (2) 


EARLY NINETEENTH CENTURY ENGLISH SILKWORK PIC- 
TURE 


Representing a bouquet of flowers. In gilt frame. 


EARLY NINETEENTH CENTURY ENGLISH SILKWORK PIC- 
TURE 


Representing a parroquet perched on a tree. Black frame. 


45 


B47 


348 


349 


350 


351 


352 


353 


354 


TWO EARLY NINETEENTH CENTURY ENGLISH SILKWORK 
PICTURES 


Representing two birls perched on trees. In gilt frames. (2) 


EARLY AMERICAN IVORY PLAQUE 
Representing the Signing of the Treaty of American Independence; 
dated 1776. In black frame. 


ENGLISH AND CONTINENTAL 
PORCELAIN AND POTTERY 


NUMBERS 349-364 


TWO EIGHTEENTH CENTURY ENGLISH ASPREY FLOWER 
POTS 


Band in centre, with sprays of flowers in relief. (2) 


LATE EIGHTEENTH CENTURY ENGLISH DERBY DESSERT 
SERVICE 

Floral and leaf decoration executed in brilliant colors of salmon, blue 

and gold on a white glaze. Comprising 24 plates; 8 shaped dishes; 

2 tureens, covers and stands. (84 pieces) 


TWO EARLY NINETEENTH CENTURY ENGLISH DAVEN- 

PORT TERRA COTTA TWO-HANDLED JARDINIERES 
Raised decoration representing a hunting scene. Base designed in a 
basketwork weave. (2) 


EIGHTEENTH CENTURY ENGLISH WORCESTER CROCUS 
POT AND COVER 


Decorated with panels of flowers on an apple-green ground. Openwork 
cover. . 


TWO EARLY NINETEENTH CENTURY ENGLISH WORCES- 
TER VASES | 

Transfer decoration representing dogs and game; scalloped tops with a 

gold decoration; gilt ram’s head handles. (2) 


EARLY NINETEENTH CENTURY ENGLISH ROCKINGHAM 
DESSERT SERVICE 


Centre panels painted in flowers. Border decorated in a royal blue and 


gold on a cream-colored ground. Comprising 12 plates, 4 dishes, 1 com- 
port. (17 pieces) 


46 


057 


358 


359 


360 


361 


TWO EIGHTEENTH CENTURY ENGLISH WORCESTER TWO- 


HANDLED FLOWER POTS AND STANDS 
Decorated on each side with panels of views and classical subjects on a 


purple and gold ground. Each supported by three scroll feet. Reptile- 
head handles. (2) 


SET OF THREE EIGHTEENTH CENTURY VENETIAN POR- 
CELAIN AMPHORAD AND COVERS 

Ram’s head handles decorated with garlands of flowers and in a leaf 

design. Openwork covers, surmounted by gilt finials. (3) 


EIGHTEENTH CENTURY WORCESTER CROCUS POT AND 
COVER 

The front decorated with a panel representing classical figures on a 

black ground. On each side a bouquet of flowers and fluted columns. 

Base and rim decorated with gold trelliswork on a rose du Barry 

ground. 


LARGE EIGHTEENTH CENTURY ENGLISH SPODE CROCUS 
POT 

Front decorated with a chariot scene with flying amorini and coral- 

tomato scrolls. Each corner is supported by four winged female figures. 


TWO EIGHTEENTH CENTURY ENGLISH LEEDS WARE 
WALL POCKETS 
In the shape of Cornucopie decorated with urns, scrolls and flowers in 


relief. (2) 


OLD FRENCH PORCELAIN DINNER SERVICE 

Border decorated with a leaf and floral pattern, and oval medallions of 
sprays and flowers surrounded by gilt festoons; small sprays of flowers 
in the centre. Consisting of 55 dinner plates, 18 soup plates, 4 vege- 
table dishes and covers, 15 meat platters, 1 salad bowl, 1 tureen, with 
cover and stand. (94 pieces) 


OLD ENGLISH WORCESTER TEA AND COFFEE SERVICE 
Of the Doctor Wall period. Decorated in the Queen Charlotte pattern. 
Comprising: 1 teapot, cover and stand; 1 sugar bowl, cover and stand; 
1 tea caddy and cover; 1 slop bowl and cover; 2 large bowls; 2 small 
bowls ;1 openwork two-handled basket ; 6 shaped bread and butter plates ; 
7 large saucer-shaped plates; 12 small, shaped bread and butter plates; 
24 teacups (one slightly damaged); 18 coffee cups; 7 large saucers; 
24 smaller saucers (1 slightly cracked). (107 pieces) 


47 


362 TWO LATE EIGHTEENTH CENTURY ENGLISH COLEBROOK- 
DALE VASES 

Square shape; decorated in the front with a bouquet of raised flowers ; 

handles with raised flowers; top surrounded by leaves and flowers in 


relief. On gilt metal bases. (2) 


363. TWO EARLY NINETEENTH CENTURY ENGLISH RIDGWAY 

VASES AND COVERS 
Hexagonal shape; decorated with birds, flowers and classical figures in 
relief on a buff-colored ground. (2) Height, 2514 inches. 


364 EARLY NINETEENTH CENTURY ENGLISH WEDGWOOD DIN- 
NER SERVICE 
Blue wreath and flower decoration on a chintz pattern ground. Gilt 
mask-head handles. Consisting of: 8 large meat platters, graduated 
sizes ; 1 large soup tureen, cover, and stand; 1 salad bowl; 4 sauce boats, 
covers and stands (2 covers repaired); 82 dinner plates; 14 soup 
plates; 8 bread and butter plates. (68 pieces) 


THE COLLECTION OF 
EXCEPTIONALLY RARE ORIENTAL LOWESTOFT URNS 
VASES, DINNER AND TEA SERVICES 


NUMBERS 365-422 


LOWESTOFT AMPHORAD MUST NOW BE CONSIDERED THE 
RAREST OF CHINESE PORCELAINS 


Tue appeal of Lowestoft is not merely that of all genuine old ceramics, but 
on its graceful classical forms and on its decoration of European flowers and 
ornaments cling the tales of Colonial life and the ventures of the East India 
Company. 

The rediscovery of Pompeii, the style of Louis Seize, the renaissance of Greek 
and Roman ornaments so fervently launched by Robert Adam, are reflected in 
Lowestoft porcelains by the adaption of the fine models favored by the silver- 
smiths of the second half of the eighteenth century. Beakers and bottles were 
replaced by covered urns, vasques and two-handled amphore, which forms lent 
themselves admirably to enrichment with floral or armorial reserves. 

As chimney ornaments or as balancing complements to the console or replacing 
the cistern or hot water urn on the sideboard, they are without equal. 

Their great scarcity is due to the short life of the Classicist Revival. The 
process of submitting a new model to the Chinese potters through the India 
traders, the leisurely execution and the long perilous return, must have placed 
these products of good taste in interiors at home, which by that time had 
undergone the pompous Neo-Egyptian transformation of the Empire. 


48 


365 


366 


267 


368 


369 


370 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT DINNER 
SERVICE 

Covered with medallions of Chinese garden scenes and flowers on a trel- 

lised orchid ground. Consisting of: 11 graduated dishes; 2 large 

dishes ; 8 dinner plates ; 5 soup plates; 6 bread and butter plates; 3 large 

cups and saucers; 4 small deep dishes; 3 shaped dishes; 1 tureen, cover 


and stand; 1 tureen and stand; 3 sauce boats; 14 assorted pieces (dam- 
aged). (61 pieces) 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
VASES 

Bottle shape; decorated with a crest on either side in blue and gold, 

with initials F. G. T., and floral sprays above. The necks are sur- 

rounded by blue borders with gilt star decorations. (2) 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
MUGS 

Fronts decorated with large floral bouquets surrounded by sprays and 

butterflies ; gilt geometrical borders on coral-tomato grounds. (2) 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
SWEETMEAT DISHES 
Shell shape; decorated with raised shell designs in relief; painted with 


floral sprays. (2) 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BOX AND 
COVER 

Silver-mounted rim and cover; painted with flowers and armorial 

bearings. 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
VASES AND COVERS 

Bodies decorated with large and small panels representing baskets and 

sprays of flowers painted in coral-tomato and gold. Covers decorated 

with four panels representing views and painted in coral-tomato, and 

surmounted by Dog Foo. (2) 


49 


371 


372 


373 


374 


375 


376 


VERY UNCOMMON EIGHTEENTH CENTURY ORIENTAL 
LOWESTOFT DINNER SERVICE 

Decorated with a blue and gold trellis border and a wheel pattern 

medallion of similar colors. 

The tureens have gilt handles and the covers are surmounted by gilt 

pineapple finials. 

The sauce boats are of a very uncommon Nautilus Shell shape, with blue 

and gilt rope handles; on shell-shaped stands. 

Comprising: 3 large deep platters; 16 smaller platters of assorted sizes ; 

12 soup plates; 33 small dinner plates; 15 dinner plates; 6 large dinner 

plates; 7 small salad dishes; 6 large salad dishes; 1 salad bowl; 2 

strainers; 3 saltcellars; 2 sauce boats and 1 stand; 1 pitcher; 1 large 

tureen, cover and stand; 2 small tureens, covers and stands; 2 savory 

dishes, covers and stands; 2 meat dishes and strainers. (114 pieces) 

The rarity of this service lies in the simplicity of the decoration. 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT CRO- 
CUS POTS AND COVERS 

Square shape; decorated on two sides with Adam vases and garlands 

of flowers, surrounded by mice, flowers and green leaves carved in re- 

lief; gilt rope handles. The covers are encircled by a gold border and 

painted floral sprays. (2) | Height, 8 inches. 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BAS- 
KETS 

The one small and oval, the other large and circular. Openwork design 

with a raised decoration of flowers; border painted with gold beads on 

sepia ground. Crest bears initials G.D. Gilt handles. (2) 


SEVEN ORIENTAL LOWESTOFT PLATTERS 

Gilt beadwork border; shield in the centre surrounded by floral wreath 
suspended by a bow-knot with the initials G. D. in gold. Graduated 
sizes. (77) 


TWENTY ORIENTAL LOWESTOFT DINNER PLATES 
Gilt beadwork border; shield in the centre surrounded by floral wreath 
suspended by bow-knot with initials G. D. in gold. (20) 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT MANTEL 
GARNITURE 


Consisting of two beaker-shaped vases and one oviform vase, decorated 
with panels of flower vases and sprays of flowers surrounded by blue 


borders. (8) 
50 


377 


378 


379 


380 


381 


383 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT TWO- 
HANDLED VASE 

Oviform shape, decorated with garlands of fleurs de lys painted blue and 

gold in relief. In the centre are oval panels representing Britain. Square 

base simulating marble. Guilt and blue scroll handles. Cover with coral- 

tomato border, gilt pineapple finial. 


EIGHTEENTH CENTURY LOWESTOFT SALAD SERVICE 
Gilt scroll and floral decoration in blues, reds, greens and yellows on 
a metallic glaze. (11 pieces) 


TWO ORIENTAL BLUE AND WHITE VASES 

Oviform shape. On each side and at the bases are panels with a raised 
decoration of birds and foliage in white. The bodies have decorations 
of butterflies and leaves on a white ground. Blue and white diaper 
borders at necks. (2) 


ORIENTAL LOWESTOFT CUSTARD CUP AND COVER, SALT- 
CELLAR, SMALL DISH AND A SMALL PIERCED DISH 

Openwork design with raised decorations of flowers ; borders painted with 

gold beads on a sepia ground. Crest bearing initials G. D. (4 pieces) 


FOUR MEAT AND TWO CIRCULAR ORIENTAL LOWESTOFT 
DISHES 

Gilt beadwork borders; shield in the centre surrounded by a floral wreath 

suspended by a bow-knot with the initials G. D. in gold. (6 pieces) 


EIGHTEEN SMALL ORIENTAL LOWESTOFT DINNER PLATES 
Gilt beadwork border; shield in the centre surrounded by floral wreath 
suspended by a bow-knot with initials G. D. in gold. (18) 


LARGE EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
BOWL 

The exterior decorated with a border of scrollwork and small diaper 

medallions on a chocolate-colored ground; below are four chocolate 

ground medallions decorated with Adam urns in sepia and white. 

The interior is decorated with bouquets of flowers with a green leaf 


decoration. 


51 


385 


386 


387 


388 


390 


LARGE EIGHTEENTH CENTURY ORIENTAL FAMILLE-ROSE 
BOWL 

Decorated on the inside with gold leaf and flower pattern, the outside 

beautifully decorated with Chinese mandarin figures on horseback, a gar- 

den scene with female figures surrounded by flowers and trees, also a bal- 

cony scene representing a mandarin surrounded by his courtiers. Base 

decorated with a geometrical pattern of blue on a peach ground. 


FIVE EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
PLATES 


Hexagonal shape; decorated bouquets of flowers on a white ground. (5) 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT TEA SER- 
VICE 

Border decorated with scrolls and rosettes in panels on a chocolate 

ground; draped urn in the centre. Comprising: 1 teapot, cover and 

stand; 1 tea caddy and cover ;-1 cream jug and stand; 1 bowl, cover and 

stand; 11 tea bowls; 10 coffee cups and saucers. (25 pieces) 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BAS- 
KETS ON STANDS 

The one, circular; the other, oval. Openwork design with raised deco- 

rations of flowers; borders with painted gold beads on a sepia ground. 


Crest bearing initials G. D. Gilt handles. (2) 


TWO ORIENTAL LOWESTOFT FISH DISHES AND LINERS 

AND ONE LARGE MEAT DISH | 
Gilt beadwork borders; shield in the centre, surrounded by floral wreath 
suspended by a bow-knot with the initials G. D. in gold. (3) 


SEVENTEEN ORIENTAL LOWESTOFT SOUP PLATES 
Gilt beadwork borders; shield in the centre, surrounded by floral wreath 
suspended from bow-knot with the initials G. D. in gold. (17) 


TWO VERY UNCOMMON EIGHTEENTH CENTURY ORIEN TAL 
LOWESTOFT JARDINIERES ON STANDS 

The centre is decorated with a leaf design in relief, painted orchid color. 

The decoration is divided in the centre with gilt geometrical inset border 

on a blue ground. The stands are decorated on the outside with a leaf 

border in orchid, green and gold. On the inside is a narrow gilt geomet- 

rical border on a blue ground. (2) 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT TEA SER- 
VICE 


Decorated with a coat of arms and floral sprays. Consisting of: 1 tea- 
pot, cover and stand; 1 cream jug and stand; 5 tea bowls and saucers ; 
3 coffee cups and saucers; 2 bowls; 2 saucers (chipped). (14 pieces) 


52 


393 


394 


395 


396 


397 


398 


TWO SMALL EIGHTEENTH CENTURY ORIENTAL LOWES- 
TOFT BASKETS ON STANDS 

Openwork design with a raised decoration of flowers; borders painted 

with gold beads on a sepia ground; crest bearing initials G. D. Gilt 

handles. (2) 


TWO CIRCULAR EIGHTEENTH CENTURY ORIENTAL 
LOWESTOFT BASKETS ON STANDS 

Openwork design with a raised decoration of flowers; border painted 

with gold beads on a sepia ground; crest bearing initials G. D. Gilt 

handles. (2) 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
VASES 

Oviform shape; decorated with two panels, in sepia, of views, with 
smaller panels below, in sepia and gold, of trees and birds; alternating 
with these are panels, also in sepia and gold, of flowers, with similar 
smaller panels beneath; the whole on a ground simulating basketwork 
weave, and the upper panels surmounted by encircling floral decorations 
in sepia. (2) 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
VASES AND COVERS 

Decoration of cornucopia, filled with flowers and surrounded by floral 

sprays and butterflies; coral-tomato borders and bases; salamander 

handles in gold; covers with coral-tomato borders and decorated with 

floral sprays surmounted by gilt kylins. (One handle slightly damaged. ) 

(2) Height, 914 inches. 


TWO VERY FINE EIGHTEENTH CENTURY ORIENTAL 
LOWESTOFT TWO-HANDLED JARDINIERES 
Decorated with bouquets and sprays of flowers in coral-tomato with sea- 
wave borders. (2) Height, 6 inches. 
[SEE ILLUSTRATION, PAGE 54] 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
VASES 

Sepia decoration of views and birds in panels surrounded by grapevine 

in gold and purple, on a coffee-colored glaze. ‘Teakwood covers. (2) 


Height, 10 inches. 


TWO VERY FINE EIGHTEENTH CENTURY ORIENTAL 
LOWESTOFT TWO-HANDLED JARDINIERES 

Bouquets of roses surrounded by floral sprays above similar decorations, 

on raised fluted ground. Fleur-de-lys border around bases. Large gilt 

handles. Scalloped tops. Decorated on the inside with flowers and 

leaves. (2) Height, 7 inches. 


[sEE ILLUSTRATION, PAGE 54] 


53 


[396] [ 396 | 


[ 398 | [ 407 | [ 400 | [ 407 ] [ 398 | 


399 TWO UNCOMMONLY LARGE EIGHTEENTH CENTURY ORI- 
ENTAL LOWESTOFT COVERED AMPHOR 

Oviform body decorated with grapevine festoons and views painted in 

sepia and surrounded by gilt borders. Base painted in imitation mar- 

ble; covers decorated with gilt floral, border surmounted by a seated 

female figure. (2) Height, 20 inches. 


400 UNUSUALLY TALL EIGHTEENTH CENTURY ORIENTAL 
VASE AND COVER 
Graceful urn-shaped body decorated with blue star border; blue and gilt 
scroll handles. Cover decorated with gold star border on blue ground 
and surmounted by seated figure. (Shghtly damaged) 
Height, 23 inches 


[SEE ILLUSTRATION | 


401 TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT JAR- 
DINIERES 


Painted gold bead border on sepia ground; crests with the initials G. D. 
in gold; shell-shaped handles decorated in sepia and gold. (2) 


54 


403 


404 


4.05 


406 


407 


408 


EIGHTEENTH CENTURY ORIENTAL NANKING TEA SER- 
VICE 

Decorated with Chinese garden scenes and pagodas. Interiors with blue, 

gold and leaf borders. Composed of: 1 teapot, cover and stand (cover 

repaired) ; 1 bowl, cover and stand; 1 cream jug, cover and stand (cover 

repaired) ; 1 bowl (repaired) ; 9 cups and saucers; 11 tea bowls. (24 

pieces ) 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
PITCHERS 

Gold scroll decoration in relief with a crest bearing the initials G. D. in 

gold; handles with gilt flowers in relief. (2) 


TWO LARGE EIGHTEENTH CENTURY ORIENTAL LOWES- 
TOFT BASKETS ON STANDS 
Openwork design with a raised decoration of flowers; border painted 


with gold beads on a sepia ground; crest bearing initials G. D.; gilt 


handles. (Repaired) (2) 


TWO SMALL EIGHTEENTH CENTURY ORIENTAL LOWES- 
TOFT BASKETS ON STANDS 
Openwork design with a raised decoration of flowers; border painted 


with gold beads on a sepia ground; crest bearing initials G. D. Gilt 


handles. (2) 


OVAL EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BAS- 
KET ON STAND 

Openwork design with a raised decoration of flowers; border painted 

with gold beads on a sepia ground; crest bearing initials G. D. Gilt 

handles. 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
VASES 
Decorated with oval panels, views in coral-tomato surrounded by blue 
and gold garlands of leaves. (2) Height, 11 inches. 
[SEE ILLUSTRATION | 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
VASES 

Oviform shape; decoration of two large panels in sepia, each represent- 

ing chateaux above and, below, birds on trees. Alternating are pairs 

of smaller panels, also in sepia, of floral sprays; the whole on a ground 

resembling basketwork weave, and the larger panels surmounted by an 

encircling floral decoration in sepia and gold. (2) 


a3) 


409 


410 


| 409 | 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT COVERED 
AMPHORA 
Oviform body with salmon and gold festoons in relief. On both sides 
are medallions, painted in coral-tomato, surrounded by flowers and 
leaves; on square base; gilt scroll haridles and decorated cover. 
Height, 1414 inches. 


[SEE ILLUSTRATION | 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT TEA SER- 
VICE 


Decorated with gold star borders and bearing crest encircling initials 


J. A. D. 


The teapot, cover, stand and large bowl of this service were manufac- 
tured at the Spode factory. 

The service is composed of: 12 cups and saucers; 4 tea bowls and 
saucers ; 1 large bowl and stand; 1 cream jug and stand; 1 teapot, cover 
and stand; 2 small bowls. (21 pieces ) 


56 


[411] 


411 UNUSUALLY FINE EIGHTEENTH CENTURY ORIENTAL 
LOWESTOFT AMPHORA 
Oviform body covered with a coffee-colored glaze; festoons carved in 
relief ; medallion of views in sepia surrounded by border of leaves and 
flowers; gilt handles in the form of roses. Base painted to simulate 
marble; cover decorated with floral border; pineapple finial. 
Height, 1614 inches. 


[SEE ILLUSTRATION | 


412 EIGHTEENTH CENTURY ORIENTAL LOWESTOFT VASE 
Decorated with bouquets and sprays of flowers, butterflies and birds; 
base and rim painted with coral-tomato and gold scrolls. 


Height, 101% inches. 


4183 EIGHTEENTH CENTURY ORIENTAL LOWESTOFT MUG 
Decoration of flowers with salmon and blue border; rope handle. 
Height, 5 inches. 


414 


417 


418 


419 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT PITCHER 
AND COVER 

Decoration of floral sprays in blue and gold with circular medallion, 

gold star border on blue ground; rope handle. Cover with gold star 

border surmounted by dolphin. (Cover repaired.) 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT 
VASES 


Bouquets of flowers and butterflies surrounded by raised grape decora- 
tion. (2) Height, 12 inches. 


EIGHTEENTH CENTURY LOWESTOFT MUG 
Decoration of floral sprays with monogram I. §. Blue border and rope 


handle. 


TWO VERY FINE ORIENTAL LOWESTOFT COVERED AM- 
PHORA& 


Oviform body covered with coffee-colored glaze; decorated flowers and 


“ leaves in gold, with festoons carved in relief. Oval medallion with 


painted views in sepia on each side; square bases painted to resemble 
marble. Covers decorated with gold and coral-tomato border ; gilt pine- 
apple finials. (2) Height, 14 inches. 


[SEE ILLUSTRATION | 


TWO VERY FINE EIGHTEENTH CENTURY ORIENTAL 
LOWESTOFT COVERED AMPHOR At 


) Urn-shaped body; fleur-de-lys festoons in relief; medallion on either side 


painted in sepia and surrounded by blue and gilt border; blue and gilt 

scroll handles. Covers decorated with blue border; pineapple finials. 

(2) Height, 1414 inches. 
[SEE ILLUSTRATION | 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT COV- 
ERED AMPHORA 


White metallic glaze decorated with festoons and fleur-de-lys carved in 


~ relief; oval panels on both sides surrounded by coral-tomato, green and 


blue border decorated with flowers and butterflies ; gilt scroll handles; 
on square bases painted to simulate marble. Covers decorated with blue, 
green and gold border ; gilt pineapple finials. (2) 
Height, 15 inches. 
58 


[418] 


420 


421 


4214 


423 


424 


425 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BOWL 
AND COVER 

Decorated with a border of gold beads on a sepia ground; crests on 

each side with the initials G. D. in gold; gilt and sepia rabbit-head 

handles. Cover decorated in a similar manner and surmounted by a 


crown. 


TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BAS- 
KETS ON STANDS 

Openwork design with raised decorations of flowers; borders painted 

with gold beads on a sepia ground; crest bearing initials G. D. Gilt 

handles. (2) 


EIGHTEENTH CENTURY ORIENTAL LOWESTOFT SUPPER 
SET 

Composed of four shaped dishes and covers forming a circle, and 

a small tureen and cover. They are decorated in a leaf and flower de- 

sign of brilliant green on a white metallic glaze. (5 pieces) | 


TWO LARGE CIRCULAR EIGHTEENTH CENTURY ORIENTAL 
LOWESTOFT BASKETS ON STANDS 
Openwork design with raised decorations of flowers; borders painted 


with gold beads on a sepia ground; crest bearing initials G. D. Gilt 
handles. (2) 


THE COLLECTION OF 
ENGLISH METALLIC RESIST (LUSTRE) WARES 
COPPER, SILVER AND PURPLE 


NUMBERS 423-470 


EIGHTEENTH CENTURY ENGLISH TURNER WARE 
PITCHER 


Decorated with a hunting scene in relief; top covered with a brown 
glaze; silver mount. 


SET OF THREE EARLY NINETEENTH CENTURY ENGLISH 
WEDGWOOD VASES 


Urn shape. Decorated with a mottled glaze. Ring handles. (8) 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG 
On the one side a painted scene representing the Sunderland bridge. 
Inscribed, and dated 1795-96. On the other side ships with inscription. 


60 


426 


427 


428 


429 


430 


431 


432 


433 


434 


435 


TWO EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE 
TEAPOTS AND COVERS 
Fluted and beadwork designs. (2) 


EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE TEA- 
POT AND COVER AND COFFEE POT AND COVER 
(2) 


EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE TRITON 
CANDLESTICK 


On square base. 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG 
AND STAFFORDSHIRE MUG 

The jug decorated with Chinese figures, pagodas, birds and flowers on a 

blue ground; the mug decorated in an agate design. (2) 


SET OF THREE EARLY NINETEENTH CENTURY ENGLISH 
WEDGWOOD SPILL VASES 

Raised blue decoration, chariot scenes and classical figures; top border 

of a similar scroll design on a white ground. (3) 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE SIL- 
VER LUSTRE STAG 


On oblong, shaped and moulded base. 


TPWO EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE 
TEAPOTS AND COVERS 
Fluted and beadwork designs. (2) 


TWO EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE 
TEAPOTS AND COVERS 

One with fluted and beadwork design; the other with a white floral deco- 

ration. (2) 


EARLY ENGLISH COPPER LUSTRE TEAPOT AND COVER; 
STAFFORDSHIRE AGATE WARE MUG; A SILVER LUSTRE 
CREAM EWER, AND A COPPER LUSTRE MUSTARD POT 
AND COVER 


(4) 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG 


Decorated on each side with fishing scenes on an orange-colored ground. 


61 


436 


437 


438 


439 


4.4.0 


TWO EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE 
COFFEE POTS AND COVERS 
Fluted and beadwork decoration. (2) 


TWO EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE 
TEAPOTS AND COVERS 
Fluted designs. (2) 


EARLY NINETEENTH CENTURY ENGLISH STAFFORDSHIRE 
PURPLE LUSTRE JUG 

On the one side, painted masonic signs; on the other, two figures with 

inscriptions: “Let brotherly love continue.” Front inscribed “Moses 

and Hannah Mills.” Dated 1822. 


TWO VERY UNCOMMON EIGHTEENTH CENTURY ENGLISH 
TURNER WARE TWO-HANDLED URNS 
The upper part decorated with chocolate-colored biscuit classical figures 
in relief, on a cream ground. Below is an acanthus leaf decoration in 
relief with scrolls covered with a silver resist lustre glaze. Fluted column 
on a square base covered with a silver lustre glaze on a cream-colored 
ground. Two masks on each side support fluted and leaf-carved handles. 
Beaded lips covered with a similar glaze. (2) 
[SEE ILLUSTRATION | 


TWO UNUSUAL WEDGWOOD PURPLE LUSTRE VASES AND 
COVERS 


Oviform bodies. Interior and exterior covers with perforated tops. (2) 
[SEE ILLUSTRATION | 


62 


ree ‘ pardon . sa ? -osntieeeeemmantaan , 2 3 


TWO TURNER WARE TWO-HANDLED URNS 
[439] 


TWO WEDGWOOD PURPLE RESIST LUSTRE VASES AND COVERS 
£440] 


TWO WEDGWOOD PURPLE RESIST LUSTRE WALL POCKETS 
[458 ] 


63 


441 


4.43 


44:4 


45 


4.46 


4A7 


448 


TWO EIGHTEENTH CENTURY ENGLISH SILVER RESIST 
LUSTRE MUGS ~ 

One decorated with birds in colors on a silver lustre ground. The other 

decorated with farmhouse scene in panel on a canary-yellow ground. (2) 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG 
The lower part decorated with four panels of rosettes surrounded by 
raised fluting; the upper part with flowers and leaves in relief in colors. 


TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUGS 


On silver resist lustre ground; the decorations of birds and foliage. (2) 


LARGE EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUG 


Decorated with sprays on a silver resist lustre ground. 


TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUGS 

The one, silver resist lustre ground with stencilled flower and trellis 

decoration. On each side are oval panels painted with views. The 

other decorated in colors with scenes. Inscribed “The narrow escape of 

Bonny through a window.” Resist silver lustre band around neck. (2) 


TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUGS 


Silver resist lustre ground; the one decorated with pattern of peacock 
and leaf; the other with floral medallion decoration. (2) 


TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUGS 


Solid silver resist lustre ground; the one decorated with birds and foli- 


age in white, the other with floral designs. (Latter slightly damaged) 
(2) 


TWO EIGHTEENTH CENTURY ENGLISH SILVER RESIST 
LUSTRE JUGS 


One decorated with birds and flowers, the other with floral sprays. (2) 
64 


4.49 


450 


451 


452 


453 


454 


455 


456 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG 


Silver resist lustre ground, decorated with hunting scene in blue. 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE TEA 
SERVICE 

Oval panels in silver resist lustre and coral-tomato, with decorated bor- 

ders. Comprising: 11 cups and saucers; 1 teapot, cover and stand; 


1 large bowl and stand; 1 small bowl and stand; 1 small cream jug. 
(15 pieces) 


EIGHTEENTH CENTURY ENGLISH SILVER RESIST LUSTRE 
BUST 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE CRO- 
CUS POT AND COVER 
Silver resist lustre ground decorated with panels of flowers. (Cover 


slightly damaged) 


TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUGS 

One decorated with an exotic bird on silver resist lustre ground, and the 

other with silver resist lustre on a canary ground. (2) 


TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUGS 
Silver resist lustre ground, decorated with birds and foliage. (2) 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE SIL- 
VER RESIST LUSTRE JUG 
Decorated on a solid silver lustre ground with an all-over pattern of 


grapevine in blue. 


EIGHTEENTH CENTURY ENGLISH SILVER RESIST LUSTRE 
TEA SERVICE 

Decorated with flowers. Comprising: Teapot and cover; cream jug; 

sugar bowl and cover; bowl; 8 cups and saucers. (7 pieces) 


65 


458 


459 


460 


461 


462 


463 


TWO EIGHTEENTH CENTURY ENGLISH PURPLE LUSTRE 
JUGS 

One decorated with hunting scene on a yellow ground; purple lustre band 

around top. The other decorated with scenes, geometrical border at 


top. (2) 


TWO EIGHTEENTH CENTURY ENGLISH WEDGWOOD 
PURPLE RESIST LUSTRE WALL POCKETS 
In the shape of Nautilus shells; impressed mark Wedgwood. (2) 


[SEE ILLUSTRATION, PAGE 63] 


TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUGS 


Foliage decorations on silver resist lustre ground. (2) 


TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUGS 

On silver resist lustre ground; the one decorated with agricultural tools 

and sheaves of wheat; the other with an uncommon decoration of irregu- 

lar waveline design. (2) 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE CRO- 
CUS POT AND COVER 


Decorated with panels of flowers on a silver resist lustre ground. 


TWO VERY UNCOMMON EIGHTEENTH CENTURY ENGLISH 
LUSTRE TWO-HANDLED VASES 

Silver resist lustre ground with stencilled flowers and star. Decorated 

with ropes and tassels held by silver rosettes carved in relief. Solid: 

silver resist handles. (2) Height, 814 inches. 


TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUGS 


Silver resist lustre ground; the one with fluted and floral decoration, 
and the other with star medallion decoration, fluted and floral border. 


(2) 
66 


464 


466 


467 


468 


469 


470 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE CRO- 
CUS POT 


Resist silver lustre ground, decorated in panels of foliage and flowers. 
Cover. 


EARLY NINETEENTH CENTURY ENGLISH STAFFORDSHIRE 
BUST 


John Wesley, 1703-91, the founder of the Methodists. 


TWO EIGHTEENTH CENTURY ENGLISH WEDGWOOD CRO- 
CUS POTS 

Bases decorated with acanthus leaves in relief; bodies covered with a 

mottled glaze. (2) Height, 191 inches. 


EARLY NINETEENTH CENTURY ENGLISH STAFFORDSHIRE 
COMPOTE 

Decorated with silver lustre acanthus leaves on a canary ground; geo- 

metrical border in silver lustre. 


TWO EIGHTEENTH CENTURY ENGLISH WEDGWOOD WALL 
POCKETS 


Nautilus shell shape; covered with a purple resist lustre. Impressed 


mark “Wedgwood.” (2) 


EARLY NINETEENTH CENTURY ENGLISH STAFFORDSHIRE 
JUG 


The lower part decorated with a floral and fluted design; the whole cov- 


ered with a purple lustre glaze. 


EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE SIL- 
VER LUSTRE JUG 

Buff-colored glaze. On the one side Masonic emblems, and on the other 

a text. Inscribed below the lip, Jonn Durron, Srocxron, 1813, in 

silver. Rim decorated with geometrical pattern of silver. 


67 


nes 


SALE WEDNESDAY AFTERNOON, JANUARY THIRTY-FIRST, AT 2:30 


472 


473 


47 4 


AT5 


476 


AG] 


FOURTH SESSION 


NUMBERS 471-627 


OLD ENGLISH FURNITURE AND PAINTED ROOMS 
17TH, 18TH AND EARLY 19TH CENTURIES 


EIGHTEENTH CENTURY ENGLISH WALNUT LAMP STAND 
Queen Anne period. Octagonal top, spiral stem, tripod base, on three 
scroll legs. 


SEVENTEENTH CENTURY ENGLISH OAK HIGH-BACK ARM- 
CHAIR 

Back composed of curved top rail supported by incurved side rails and 

two centre splats; scroll arms on similar arm supports. On cabriole 

legs connected by turned stretchers. 


EIGHTEENTH CENTURY ENGLISH WIG STAND 

Chippendale period. Circular top carved in a leaf and scroll design, 
below which are two small drawers surmounted by small bowl and cover ; 
on triangular supports, standing on three carved scroll legs supporting 
understretcher. 


EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE 
Chippendale period. Circular top with beaded edge on turned and fluted 
column, supported by three shaped legs carved at the knees. 


EIGHTEENTH CENTURY ENGLISH BRISTOL PORCELAIN 
BASKET OF FLOWERS 

By Ramey. An exceptionally fine example of the Bristol Factory. It 

represents a basket of various flowers and leaves which are worked out 

to the most minute detail. In a carved and gilt frame. 


EIGHTEENTH CENTURY ENGLISH NEST OF TABLES 
Sheraton period. On turned spindle columns supported by shaped feet. 


SET OF OLD ENGLISH GREEN IVORY HANDLED STEEL 
KNIVES AND FORKS 
Twelve knives and 12 four-pronged forks. (24) 


69 


478 


480 


481] 


482 


483 


484 


485 


486 


487 


COLLECTION OF OLD ENGLISH GREEN IVORY HANDLED 


KNIVES 
Comprising 24 knives with steel blades. (24) 


EIGHTEENTH CENTURY ENGLISH LADY’S DRESSING CASE 
Sheraton period. Interior fitted with silver-mounted cut glass bottles. 
Original brass drop handles. Top inlaid with small agate medallions. 


EIGHTEENTH CENTURY ENGLISH TRIPOD TABLE 
Chippendale period. Shaped tray top on turned column, supported by 
three shaped legs with scroll carving and scroll feet. 


EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 
TUB CHAIR 

Chippendale period. On cabriole legs carved at the knees; ball and 

claw feet. Upholstered and covered with red silk. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BIRDCAGE 
Chippendale period. Octagonal base supporting three tiers on carved 
columns, dome-shaped top with leaf-carved finials. 


EIGHTEENTH CENTURY ENGLISH LADY’S HAREWOOD 
WORK TABLE 

Sheraton period. Octagonal top; fitted with one drawer, with a sliding 

bag below; top and sides inlaid with satinwood. Supported by four 

tapered legs. 


CARVED MAHOGANY CHIPPENDALE ARMCHAIR 
Curved arm supports. On square legs carved in a Gothic design. Seat 
and back upholstered and covered with blue silk. 


KIGHTEENTH CENTURY ENGLISH MAHOGANY CARD 
TABLE 

Sheraton period. Forming semi-circular console. Lift-up top inlaid 

with bands of satinwood; standing on four tapered legs. 


KIGHTEENTH CENTURY ENGLISH NEST OF TABLES 
Sheraton period. Turned spindle columns supported by shaped feet. 


KIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE 


Sheraton period. Bomb shape, fitted with one drawer with brass handle 
and escutcheon plate. 


70 


488 


489 


4.90 


491 


492 


493 


494 


495 


496 


EIGHTEENTH CENTURY ENGLISH MAHOGANY STOOL 
Chippendale period. Oval seat supported by four square legs carved 
in Gothic style and connected by fretwork spandrels. Loose cushion 
seat, upholstered and covered in red silk damask. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TIP TABLE 
Chippendale period. Octagonal top on tripod base carved with leaves. 


OLD ENGLISH MAHOGANY EXTENSION TABLE 


Plain mahogany top on four square tapered legs. Fitted with one 
drawer. Original brass handles. 


SET OF SIX EIGHTEENTH CENTURY ENGLISH PAINTED 
SIDE CHAIRS 
Adam period. Shield-shaped backs; centre splats formed by an urn 


painted in flowers ; turned tapering legs painted in a similar manner. (6) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE 
Chippendale period. Plain top with leaf and ribbon carved edge; on 
square legs carved in a Gothic design; fretwork spandrels. 


EIGHTEENTH CENTURY ENGLISH MANTEL MIRROR 

Adam period. Composed of a large centre plate and two smaller side 
plates, surrounded by a shaped, moulded and carved frame and sepa- 
rated by fluted columns. Standing on ball feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TORCHERE 
Shaped piecrust top; fluted triangular columnar support on three scroll 
feet. 


EIGHTEENTH CENTURY ENGLISH WINDOW SEAT 
Adam period; scroll shape; seat upholstered and covered in green 
damask; supported by square tapered legs, painted in urn and scroll 


design. 


TWO EIGHTEENTH CENTURY ENGLISH POLE SCREENS OF 
THE SHERATON PERIOD 

On twisted and baluster stems with circular and gadrooned bases; urn- 

shaped finial, painted black and gold and furnished with oval pole panels, 

holding silk-embroidered bouquets of flowers worked in natural colors 

on a cream ground. (2) 


yeh 


4S7 


498 


499 


501 


502 


504 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CHINA CAB- 
INET ON STAND 

Sheraton period. Upper portion partly enclosed by two glass doors, 

above and on either side of which are small shelves; two small drawers 

below. Inlaid bands of satinwood and satinwood rosettes. Half-circular 

base supporting undershelf ; on four square tapered spandrels inlaid with 

satinwood. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- 
ETTE 

Georgian period. Upper part fitted with small compartments bound 

with wide brass bands. Original brass mask-head drop handles; stand 

supported by four square legs; fretwork spandrels. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST OF 
DRAWERS 

Chippendale period. Top with carved leaf border; fitted with four 

drawers with original brass drop handles. On four carved block feet. 


TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD WALL BRACKETS 

Georgian period. Centre part formed by ribbon carving in the centre 

of which is a flying eagle; below are three scroll brackets with female 

heads holding metal bobéches. (2) 


SEVENTEENTH CENTURY ENGLISH OAK REFECTORY 
TABLE 


Supported by four turned legs connected by understretcher. 


SET OF NINE EIGHTEENTH CENTURY ENGLISH YEW-TREE 
WINDSOR SINGLE CHAIRS AND TWO ARMCHAIRS 

Oval backs; supported in the centre by a fretwork splat in a wheel pat- 

tern with three spindles on either side; curved arms on shaped arm sup- 


ports; standing on four turned spindle legs, connected by turned spindle 
understretchers. (11) 


SEVENTEENTH CENTURY ENGLISH OAK BRIDAL CHEST 


Plain moulded cover, panelled front with carved letters G. R. and date 
1678. Panelled sides. 


EARLY EIGHTEENTH CENTURY ENGLISH OAK MONK?’S 
CHAIR 


Oval lift-up top. Four columns connected by stretchers support the 
seat. Carved front and sides. 


72 


506 


507 


508 


511 


512 


SEVENTEENTH CENTURY ENGLISH SIDE CHAIR 
Stuart period. Splat back with twisted side rails; twisted legs con- 
nected by carved stretchers. 


SEVENTEENTH CENTURY ENGLISH OAK MARRIAGE CHEST 
ON STAND 
The front engraved with the Coat of Arms of James II. 


SMALL FIVE-LIGHT CRYSTAL CHANDELIER 
Draped with crystal festoons from the top, forming bowl at bottom, 
with shaped arms fitted with bobéches and candle holders. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD 
TABLE 


‘Sheraton period. Forming semicircular console table. Lift-up top, 


inlaid with bands of satinwood; standing on four tapered legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY FIRE 
SCREEN 

Chippendale period. Needlework panel executed in a floral design on a 

black ground; sliding mahogany frame surmounted by carved head me- 

dallion, leaves and bow knots. Base of stand carved urn and scrolls; 


supported by four shaped feet. 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY WIN- 
DOW SEATS 
Hepplewhite period; scroll-shaped ends; supported by carved and fluted 


legs. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST OF 
DRAWERS 

Chippendale period. Front with carved leaf edge; fitted with four 

drawers with original brass drop handles and escutcheons. Carved 


beaded base. 


EIGHTEENTH CENTURY ENGLISH MIRROR 

Queen Anne period. Oblong mirror plate with arched top, surrounded 
by glass panels painted in a Gothic manner in gold on a tortoise-shell 
colored ground. Mirror plate painted at the top with Prince of Wales’ 
feathers. } 


13 


513 


514 


515 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WRITING 
TABLE 

Chippendale period. Oblong green baize top; fitted with two small draw- 

ers with original brass handles; on four cabriole legs carved at the knees 

in a Shell, leaf and scroll pattern; standing on ball and claw feet. 


TWO OLD ENGLISH TERRESTRIAL AND CELESTIAL WORLD 
GLOBES ON STANDS 

Turned tripod stands connected by turned stretchers. Made by Cruch- 

ley, Fleet Street, London. (2) 


EIGHTEENTH CENTURY ENGLISH WING CHAIR 
Cabriole legs carved at the knees and terminating in ball and claw feet. 
Upholstered and covered in floral crewel work on a blue ground. 


ENGLISH CHIPPENDALE MAHOGANY TWO-FOLD SCREEN 
Fluted legs supporting fretwork stretcher; below are fluted stretcher 
supports. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD 
TABLE 

Sheraton period. Fold-over top forming semicircular console supported 

by four tapered legs. 


TWO EIGHTEENTH CENTURY ENGLISH ARMCHAIRS 

Adam period. Painted black and gold, oval backs, shaped arms, tap- 
ered and fluted legs. Upholstered and covered in red silk in a floral 
design. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY LAMP 
STAND 

Adam period. Plain circular top; fluted gilt stem on fluted mahogany 

and gilt tripod. 


EIGHTEENTH CENTURY ENGLISH LADY’S MAHOGANY 
WRITING DESK 

Sheraton period. Lift-up top, inlaid with bands of satinwood ; sliding 

screen back and adjustable writing pad; fitted with one drawer; front 

and sides inlaid in a similar manner. On four square tapering legs con- 

nected by understretchers. 


74 


521 


523 


524 


an 
“WO 
Or 


526 


527 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING 
CHAIR 

Hepplewhite period. On four carved square tapering legs. Upholstered 

and covered in a green floral silk damask. Loose cushion seat. 


TWO EIGHTEENTH CENTURY SATINWOOD POLE SCREENS 
Adam period. Shield-shaped panels with oval medallion representing 
female carrying agricultural implements and surrounded by festoons of 
flowers. On painted and scroll carved supports, on three carved and 
painted legs. (From the Collection of the Baroness Burdett-Coutts ) 


(2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TWO-FLAP 


DINING TABLE 
Chippendale period. Oval top with border carved in acanthus leaves ; 
on eight square legs. 


TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD ARMCHAIRS 

Adam period. Shaped top and side rails, carved with rosettes; scroll 

arms and supports; front and sides carved in similar manner. On 

square carved, fluted and tapering legs. Seats and backs upholstered 

and covered in light blue silk. (2) 


EIGHTEENTH CENTURY ENGLISH LADY’S MAHOGANY 
WORK TABLE 
Sheraton period. Half-circular ends with gallery; on lyre-shaped sup- 


port; on four shaped claw feet. 


EIGHTEENTH CENTURY ENGLISH MARBLE MANTELPIECE 


_ Adam period. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BREAKFAST 


TABLE 
Sheraton period. Oblong top with moulded edge supported by turned 


column, standing on four shaped legs. 


EIGHTEENTH CENTURY SPANISH YELLOW DAMASK COV- 
ERLET 


Composed of a conventionalized design of leaves and flowers in two-tone 


vellow. Length, 1214 yards. 
75 


529 


530 


531 


532 


534 


535 


536 


SET OF SIX EIGHTEENTH CENTURY ENGLISH SIDE CHAIRS 
Georgian period. Carved, fluted top and bottom rails supported by col- 
umns; shaped aprons with leaf festoons in relief; rosetted dies on four 
spirally turned tapering legs. (6) 


EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 
SETTEE 

Chippendale period. Back carved in a leaf, shell and scroll design; 

scroll arms carved in similar manner with mask heads. Plain mahogany 

seat supported by cabriole legs carved on the knees and terminating in 

claw feet. 


TWO OLD ENGLISH MAHOGANY TORCHERES 
Plain turned tapering support connected by scroll-shaped tripod. (2) 


EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE 
Adam period. Shaped top, border painted in a leaf and flower design. 
Centre compartment enclosed by two convex trelliswork doors. ‘Two 
side compartments enclosed by concave doors painted with medallions 
of flowers. Supported by six painted columns on turned feet. 


EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD CONVEX MIRROR 

Georgian period. Oval mirror plate with moulded and beaded frame, 

shell and leaf carving below. At the sides are scroll-shaped arms hold- 


ing cut glass bobéches and nozzles; surmounted by carved and gilt wood - 
eagle. 


TWO EIGHTEENTH CENTURY ENGLISH PAINTED PED- 
ESTALS 

Adam period. Oblong top decorated with acanthus leaves and supported 

by square tapered columns decorated with festoons of flowers. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER 
CUPBOARD 

Chippendale period. The upper part enclosed with two glass doors, 

surmounted by carved cornice and carved scrolls at sides; the lower 

part as a cupboard fitted with one drawer with compartments. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WINDOW 
SEAT 


Chippendale period. Scroll ends supported by four cabriole legs carved 
at the knees in a leaf and scroll pattern and terminating in ball and 
claw feet. Upholstered and covered in a striped damask. 


76 


O87 


538 


539 


540 


541 


542 


KIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE 
TABLE 

Sheraton period. Apron inlaid with urn and bands of satinwood. Dies 

inlaid with urns. On square tapered legs inlaid with fleur-de-lys. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- 
TAIRE BOOKCASE 

Sheraton period. Upper part composed of a cabinet enclosed by two 
glass doors inlaid with bands of satinwood, and surmounted by moulded 
and beaded cornice. The bottom part is composed of a cylindrical top 
desk, the interior of which is fitted with six small drawers and three 
small compartments in satinwood. The slide has a lift-up writing stand 
covered with green leather. Below are three long drawers with original 
brass drop handles. On shaped base inlaid with bands of satinwood. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CIRCULAR 
LIBRARY TABLE 

Sheraton period. Plain mahogany top; fitted with six real and two 

dummy drawers; turned columnar support; on four scroll fluted legs. 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE 
CHAIRS 

Chippendale period. On cabriole legs carved at the knees. Upholstered 

backs and seats. (2) 


EARLY EIGHTEENTH CENTURY ENGLISH “ACT OF PARLIA- 
MENT” CLOCK 

Circular moulded body, painted black. The entire front is occupied by 

a dial with boldly painted numerals and gilded hands. 


TWO EARLY NINETEENTH CENTURY ENGLISH TERRES- 
TRIAL AND CELESTIAL WORLD GLOBES 
Carved and fluted columns on tripod stands. (2) 


EIGHTEENTH CENTURY ENGLISH PAINTED CANVAS SIX- 
FOLD SCREEN 

Four of the panels are composed of urns filled with flowers and resting 

on pedestals with tropical birds in bright plumage perched upon their 

tops. The remaining panels bear nude figures of putti with emblems of 

love and festoons of flowers suspended above their heads. The tops are 

enriched by draperies of crimson. 


7 


544 


cx 
re 
o>) 


O49 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING ARM- 
CHAIR 

Standing on square tapered legs, carved at the tops; fretted spandrels ; 

upholstered and covered in a flowered gros point. 


EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 
CARD TABLE 

Chippendale period. Shaped top; leaf carved edge; on four cabriole: 

legs carved at the knees; ball and claw feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY POLE 
SCREEN 

Chippendale period. Tripod base; on three curved legs; supports a 

panel of needlework in a flower design. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE 
Chippendale period. Top with carved leaf border. Fitted with two 
drawers with original drop handles. Cabriole legs carved at the knee. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY DINING 
TABLE 

Sheraton period. Formed in three sections; the ends are half-circular 

and the centre oblong; each supported by four fluted legs terminating in 

scroll feet. Two extra leaves. 


SEVENTEENTH CENTURY SPANISH ROSE SATIN COVERLET 
With tasselled fringe. Length, 10 yards. 


SEVENTEENTH CENTURY SPANISH ROSE. SATIN COVERLET 
With tasselled fringe. Length, 10 yards. 


SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY 
SIDE CHAIRS AND TWO ARMCHAIRS 

Chippendale period. On square legs with carving in a Gothic design 

connected by understretchers; fretwork spandrels. Curved arms sup- 

ported by a fretwork design panel held by curved supports. Seats and 

backs upholstered and covered. (8) 


EIGHTEENTH CENTURY ENGLISH SIX-FOLD PAINTED 
LEATHER SCREEN 


Latticework decoration forming panels of rosettes surrounded by a wide 
scroll and leaf border in gold on a black ground. 


78 


553 


555 


997 


Or 
or 
ee) 


559 


560 


TWO OLD ENGLISH MAHOGANY TORCHERES 
Shaped tops on tapered columnar supports standing on three shaped 


legs. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDEBOARD 
Sheraton period. Top inlaid with satinwood border; two larger draw- 
ers in the front inlaid with satinwood with original brass drop handles ; 
square tapered legs inlaid with bands of satinwood. 


FIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD MIRROR 

Chippendale period. Shaped mirror plate, with scroll-shaped frame with 

flower and leaf carving at sides and below. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY POLE 

SCREEN 
Chippendale period. Oblong moulded floral carved frame holding panel 
of tapestry representing fruit and flowers, on carved columnar supports 
standing on three cabriole legs carved at the knees. 


EIGHTEENTH CENTURY ENGLISH CHEST 

Chippendale period. Plain mahogany top, leaf and shell carved edge 
fitted with three drawers, original brass ring handles; carved and 
moulded base on four shaped feet carved in a Gothic design. 


TWO EIGHTEENTH CENTURY ENGLISH CUT GLASS FIVE- 
LIGHT WALL APPLIQUES 

Adam period. Centre stem supporting inverted bobeches from which 

hang draped pendants surmounted by star finials. Curved arms holding 

star bobeches and glass candle holders. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY KNEEHOLE 
DESK 


Chippendale period. Plain mahogany top with carved scroll edge; pull- 


out drop front writing compartment, below which are six small drawers 
forming pedestals; on four shaped feet. Original brass handles and 
escutcheon plates. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE 
Chippendale period. Top part formed by three cabinets enclosed by 
glass doors and surmounted by carved leaf cornice. Lower part with 
pull-out secrétaire in top; fitted with six drawers and seven small com- 
partments, below which are two panelled doors, with rosettes in corners, 
enclosing a cupboard; on carved and moulded base. 


79 


561 


Cn 
co 
bo 


563 


564 


565 


567 


568 


EIGHTEENTH CENTURY ENGLISH ALABASTER URN 

In the Italian taste of the Adam period. Large vasque acanthus carved 
at the bottom furnished with two interlaced serpent handles on a moulded 
fluted socle; yellow Sienna marble base. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST 
Chippendale period. Fitted with four drawers, with original brass drop 
handles; on four shaped feet connected by shaped underpart. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY ARMCHAIR 
Chippendale period. Arms in a lattice and floral design; on four square 
legs carved in a similar manner; connected by understretcher. Uphol- 
stered and covered in floral crewel work. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BEDSIDE 
CUPBOARD 

Sheraton period. ‘Top inlaid with satinwood; cupboard formed by one 

door with brass handles; on square legs. 


EARLY NINETEENTH CENTURY ENGLISH MAHOGANY 
LADY’S WORK TABLE 

Shaped top; inlaid with bands of satinwood. Front inlaid in a similar 

manner. Interior fitted with small mirror; original bobbins and various 

compartments. On fluted columnar support; triangular base; brass 

claw feet. 


OLD CHINESE SILK EMBROIDERY EIGHT-FOLD SCREEN 
Decorated with Chinese figure subjects and trees worked in colored silk 
on a satin ground. 


SEVENTEENTH CENTURY SPANISH POLYCHROME CHEST 
Steeple top; painted on each side in various flowers; fall-down front; 
decorated on inside with bright-colored scrolls and leaves. The exterior 
decorated in similar manner to the top; standing on four carved and gilt 
wood ball and claw feet. 


SEVENTEENTH CENTURY SPANISH CHEST 
Covered with original red velvet on which are wrought-iron diamond- 
shaped plates; fitted with original wrought-iron lock and handles. 


KIGHTEENTH CENTURY ENGLISH OAK GATE-LEG TABLE 


On turned and tapered supports. Fitted with one drawer. 


80 


570 


573 


575 


576 


577 


TWO OLD ENGLISH WALNUT SIDE CHAIRS 

Back formed by shaped top rail supported by carved side rail and three 
twisted splats; shaped apron; on cabriole legs, carved at knees; slip 
seats, covered in a flowered needlework. (2) 


SEVENTEENTH CENTURY OAK CHEST 

Plain top, carved edge. Front enclosed by small fluted door with orig- 
inal hinges and drop handle. On each side is a small perforated panel; 
plain panel ends; supported by four peg-shaped legs. 


SEVENTEENTH CENTURY ENGLISH OAK HALL CHAIR _ 
Arch-shaped back with flower carved in panel. Dated 1617. Shaped 


arms on column supports; standing on turned legs. 


SEVENTEENTH CENTURY ENGLISH OAK REFECTORY 
TABLE 

Moulded top supported by four turned columnar supports, connected by 

stretchers. 


SEVENTEENTH CENTURY ENGLISH OAK ARMCHAIR 

High back with leaf-carved panel surrounded by an arched frame; 
shaped arms on similar supports. Panel carved in a similar manner to 
the back; on square legs connected by understretchers. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TWO-FLAP 
DINING TABLE 

Chippendale period. Oval-shaped top with moulded edge carved in a’ 

scroll and leaf pattern; supported by six turned tapering legs on club 

feet. 


EARLY SEVENTEENTH CENTURY CRIMSON DRAP D’OR 
Cut and uncut Genoese velvet panel occupied by a central motif of a 
basket with boldly spreading flowers. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- 

ETTE | 
Georgian period. Lift-wp top with moulded edge and bound with brass 
bands. Original brass drop handles. Fluted stand supported by simi- 
larly carved legs. 


81 


THE LARGEST COLLECTION OF PAINTED WAINSCOTS 
EVER OFFERED 


In our days of unionized effort and disappointing execution of the most prom- 
ising designs, a wainscot should be welcome which, by magic, can cover large 
bleak surfaces with landscapes, flowered and fountain-sprayed gardens, peopled 


with figures in engaging costumes. 


Painted walls have been known since antiquity, but, being frescoes, they suf- 
fered with the ruin or collapse of the walls upon which they were painted. 


The eighteenth century brought the movable room on canvas. The names of 
Watteau, Goudrie, Huet, Boucher and Fragonard are associated with some 
of the most exhilarating rooms painted in such a manner. 


Holland claims a style of its own, with Hosson (See Catalogue Number 1095) 
as one of its most daring exponents. 


In England, at Drakelow Hall, the house of Sir Robert Gresley, is a landscape 
wainscot covering the walls of the dining hall (illustrated in Latham’s “Eng- 
lish Homes’), so cheery that it must invite imitation. 


See Numbers 715, 1014, 1031, 1095, 1158, 1160, ete. 


978 TOOLED AND PAINTED CORDOVA LEATHER WAINSCOT OF 
THE SEVENTEENTH CENTURY 


Exceptionally important wainscot composed of twenty panels, the cen- 
tres occupied by landscapes and marines in soft blues and colors as 
reserves surrounded by acanthus arabesques. Tops and bottoms en- 
riched by horizontally designed motifs of floriated volutes furnished 
with interlaced dolphin and sphinx bodies, grotesques and cornucopie 


in grisaille with husk borders, all on a diapered, scaled, gilded and tooled 
ground. 


This room was taken bodily from a castle near Blenheim and brought 
to England from Flanders by the Duke of Marlborough. 


| SEE ILLUSTRATION | 


82 


TOOLED AND PAINTED CORDOVA LEATHER WAINSCOT 
[578 | 


579 


580 


5835 


SET OF FOUR VERY UNCOMMON GEORGIAN PAINTED AND 
CARVED WOOD ARMCHAIRS 

Cushioned top rail supported by intertwined snakes, shaped arms termi- 

nating in lion mask-heads supported by shaped armrests; curved square 

tapering legs with ball and claw feet. Seats upholstered and covered in 


red. (4) 


AN IMPORTANT EIGHTEENTH CENTURY ENGLISH CARVED 
WOOD CONSOLE TABLE 

Walnut top supported by four mask-heads on scroll-shaped supports, 

forming legs and connected by crossed stretcher. On four feet carved in 

the form of dolphins. 


TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD WALL APPLIQUES 

Georgian period. Composed of ribbon carving holding shell which sup- 

ports two bobéches and nozzles with leaf carving. (2) 


TWO EIGHTEENTH CENTURY ENGLISH NEEDLEWORK 
BANNER SCREENS 

Chippendale period. Banners executed in figures and flowers on a black 

ground. Carved and turned tripod stands. (2) 


OLD ENGLISH QUEEN ANNE BLACK LACQUER CABINET ON ~ 
STAND 
Upper part enclosed by two arched doors decorated with a design of 
Chinese figures and birds in gold and colors on a black ground; with 
original escutcheon plates, corner plates and hinges. The interior is 
fitted with nine small and one large drawer decorated in a similar manner. 
Surmounted by carved and gilt wood scroll pediment. The lower part 
is fitted with a writing slide, two small and three long drawers decorated 
in a manner similar to the top; original drop handles; on moulded base. 


[SEE ILLUSTRATION | 


84 


| 
Reoneacasounienseospontiueneni Rissa RBASSNSSar MAN ennnnnannAnNn 


QUEEN ANNE BLACK LACQUER CABINET ON STAND 
[583] 


cr 
CO 
Or 


Cr 
CO 
~} 


589 


590 


591 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TWO-FOLD 
SCREEN 

Chippendale period. Oblong panels containing leather of a gilt floral 

decoration on a green ground. Surmounted by fretwork panel. On 

four spindle legs, connected by stretchers holding fretwork panels. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR 
Chippendale period. On square legs carved in a Gothic bye uphol- 


stered and covered in green silk. 


CARVED MAHOGANY CHIPPENDALE ARMCHAIR 
Curved arm supports. On square legs carved in a Gothic design. Seat 
and back upholstered and covered in blue silk. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST 

Chippendale period. Shaped top, the edge of which is carved in a floral 
pattern; corners with fretwork carving; base carved in a scroll design; 
on four shaped block feet. Fitted with four drawers with original brass 


handles. 


EIGHTEENTH CENTURY CARVED MAHOGANY TRIPOD 
TABLE 
Chippendale period. Columnar supports; on tripod base, carved at the 


knees and terminating’ in scroll feet. 
« 


EIGHTEENTH CENTURY MAHOGANY CHINA CABINET ON 
STAND 

Sheraton period. Upper portion partly enclosed by two glass doors, 

above and on either side of which are small shelves; two small drawers 

below. Inlaid bands of satinwood and satinwood rosettes. Half-circular 

base supporting undershelf; on four square tapered spandrels, inlaid 

with satinwood. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE 
TABLE 


Chippendale period. Carved edge and apron supported by four triangu- 
lar carved legs. 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY 
TORCHERES 


Shaped tops on twisted and tapered columns supported by three scroll 
Peete 2) 


86 


592 


593 


595 


596 


ce 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER 
CHAIR 

Chippendale period. Half-circular back with carved panelled scroll 

ends; supported by turned columns in carved fretwork splats; on square 


tapered legs. Gros point slip seat in a flower design. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SETTEE 
Chippendale period. Arms terminating in leaf and scroll carving. On 
carved shaped supports; legs carved at the knees, terminating in scroll 


carving. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD 
TABLE 

Chippendale period. Triangular shape with lift-up top, the edge of 

which is carved in a leaf design. On slightly cabriole legs carved at the 


knees in shell style and terminating in scroll feet. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD CONSOLE 
TABLE 
Adam period. Top part inlaid with mahogany and painted scroll leaf 


and flower border; on turned tapering legs. 


EIGHTEENTH CENTURY ENGLISH MIRROR 
Queen Anne period. Upright oblong mirror plate with shaped walnut 


frame. 


TWO OLD ENGLISH MAHOGANY TERRESTRIAL AND CELES- 
TIAL WORLD GLOBES 

On four turned and fluted legs connected by turned and fluted stretchers. 

By J. W. Cary, Strand, London, England. Dated 1808. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY KNEEHOLE 
LIBRARY DESK 

Hepplewhite period. Plain mahogany top with fluted edge. Fitted with 

one large drawer, and three smaller drawers on each side ; drop handles ; 


carved fluted brackets supported by eight square legs. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD GAMING 
TABLE 

Sheraton period. Oblong top inlaid with bands of mahogany. The 

centre pulls out and forms a chessboard. Front fitted with two drawers. 

On lyre-shaped supports standing on curved legs inlaid in a similar man- 


ner to the top. 


87 


600 


601 


603 


604 


605 


606 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY ARM- 
CHAIRS 

Chippendale period. Arms carved with lion mask-heads held by carved 

supports; legs carved at the knees in a scroll and leaf pattern; ball and 

claw feet. Seats and backs upholstered and covered in silk. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKSHELF 
Chippendale period. Sides composed of graduated fretwork panels in a 
Gothic design, holding four shelves with fluted edges. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER 
CUPBOARD 

Chippendale period. ‘Top with two doors, with two panels in each door 

held by carved moulding. Fluted columns at sides. Lower part with 

two doors, the panels of which are held in similar manner. Cornice with 

carved acanthus leaves. Original brass escutcheon. 


SMALL CRYSTAL FOUR-LIGHT CHANDELIER 
Draped from the top. Bottom in the form of four rings in tiers from 
which hang pear-shaped pendants. 


EIGHTEENTH CENTURY ENGLISH TRIPOD TABLE 
Sheraton period. Oval top inlaid with large nautilus shell; on inlaid 
tripod base. 
FELLETIN TEMPERA ROOM 
Composed of four large panels painted on canvas, one upright and two 
overdoors, occupied by farm scenes, dack ponds, architectural composi- 
tions, villages, churches, enlivened by motifs of tropical birds and flow- 
ered garlands in soft brown and scarlet, against a warm sky-blue back- 
ground. Formal border simulating carved wood frame. This painted 
room was executed for the Felletin tapestry looms in the reign of Louis 
Quatorze. 
Size of the four large panels, 8 feet 9 inches x 12 feet 4 inches. 
8 feet 9 inches x 10 feet. 
8 feet 9 inches x 9 feet 8 inches. 
8 feet 9 inches x 10 feet 7 inches. 
Size of the upright panel, 8 feet 9 inches x 8 feet 6 inches. 
Size of the overdoors, & feet x 8 feet 8 inches. 
4 feet x 8 feet. 


OLD FRENCH WALNUT ARMCHAIR 
Shaped and moulded back, scroll arms on curved supports. Moulded 


front and sides standing on cabriole legs. Upholstered and covered in 
old flowered gros point. 


88 


607 


608 


609 


610 


611 


612 


613 


EIGHTEENTH CENTURY SOUTH FRENCH WALNUT AND 
MARQUETERIE LADY’S SECRETAIRE 

On cabriole supports. Gently outcurved front fitted with two drawers, 

desk flap furnished with centre motif of love birds in interlaced meander 

borders of tinted and colored woods on a thuya wood ground. Fitted 

with four shaped drawers with secret compartments and a pigeonhole. 


EIGHTEENTH CENTURY FRENCH ENTRE-DEUX 

Sides formed as shelves surrounded by gilt metal galleries; front fitted 
with one small drawer; supported by fluted columns standing on turned 
tapering legs with metal shoes. 


EIGHTEENTH CENTURY FRENCH ARMCHAIR 

Louis Seize period. Carved arms on scroll arm supports; carved panel 
and sides; rosetted dies; on turned tapering legs. Upholstered and cov- 
ered in maroon-colored damask. 


NINETEENTH CENTURY ENGLISH CARVED AND GILT FIRE 
SCREEN 

Frame profusely carved with a fruit, flower and leaf decoration, holding 

a needlework panel, representing a boy and girl, worked in various colors. 


EIGHTEENTH CENTURY ENGLISH PAINTED CONSOLE 
TABLE 

Adam period. ‘Top painted with oval medallion, girl feeding chickens, 

encircled with a vine of ivy; border of leaves and grapes. Apron painted 

with small panel of flowers and leaves. On four fluted and painted legs. 


EIGHTEENTH CENTURY ENGLISH WALNUT CORNER CAB- 
INET 

Queen Anne period. Top part in the form of a cupboard enclosed by 

a panelled door; fluted sides; surmounted by a moulded scroll and shell 

carved pediment; stand carved in the front in a flower and shell design ; 

on cabriole legs carved at knees in a similar manner and terminating in 

claw feet. 


EIGHTEENTH CENTURY ENGLISH LOVE SEAT OF THE 
QUEEN ANNE PERIOD 

Oblong back, scroll arms; on carved cabriole legs. Back, arms and 

loose cushion seat covered with salmon-colored silk damask. 


89 


614 


615 


616 


618 


619 


EIGHTEENTH CENTURY ENGLISH SATINWOOD WINDOW 
SEAT 

Of the Sheraton period. Scroll-shaped ends inlaid on either side in 

flowers and leaves; rosetted dies; on square tapered legs inlaid in a fleur- 


de-lys pattern. 


OLD COLONIAL MAHOGANY WORK TABLE 
Lift-up top; interior fitted with small compartments with drawer and 
work bag; on lyre-shaped supports connected by turned understretcher. 


NINETEENTH CENTURY ENGLISH CARVED WOOD AND 
GILT MIRROR 
Georgian period. Sides formed by fluted columns, mirror plate sur- 


mounted by an eglomisé painting of a cottage. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY LIBRARY 
TABLE 

Chippendale period. Plain octagonal top with carved leaf edge; fitted 

with four drawers, with original brass drop handles; base formed by 

octagonal stand fitted with panelled door encircling cupboard; panelled 

sides on moulded base. 


TWO OLD ENGLISH TERRESTRIAL AND CELESTIAL WORLD 
GLOBES 

On mahogany tripod stands. Made by Newton & Sons, 66+Chancery 

Lane, London, England, and dated January Ist, 1873. (2) 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY ARM- 
CHAIRS 

Chippendale period. Arms carved with lion mask-heads held by carved 

supports ; legs carved at the knees in a scroll and leaf pattern; ball and 

claw feet ; seats and backs upholstered and covered in silk. (2) 


OLD ENGLISH PAINTED DAY BED | 

Scroll-shaped back and ends; frame painted in rose garlands and leaves 
on a green ground; painted scroll-shaped legs terminating in metal- 
mounted feet. Upholstered and covered in red denim; loose cushion seat 
and bolster pillow. 


KIGHTEENTH CENTURY ENGLISH SATINWOOD WINDOW 
SEAT 

Sheraton period. Scroll-shaped ends inlaid on either side in flowers and 

leaves ; rosetted dies; on square tapered legs inlaid in a fleur-de-lys pat- 

tern. 


90 


622 


623 


624 


625 


626 


627 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST 
Chippendale period. Plain mahogany top with carved scroll edge. Fitted 
with four drawers, with original brass drop handles; base carved in a 
beadwork design. On shaped and carved feet. 


EIGHTEENTH CENTURY ENGLISH LADY’S SATINWOOD 
WRITING TABLE 

Adam period. Top decorated with festoons of flowers; fall-down front 

with oval panel representing a female figure and a cupid; on octagonal 

tapered legs holding undershelf and supported by scroll feet. 


EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 
TRIPOD TABLE 

Chippendale period. Oval top, fluted columnar support on three carved 

legs. 


TWO EIGHTEENTH CENTURY ENGLISH TORCHERES 
Hexagonal top supported by turned and tapered inlaid columns on tri- 
pod base, inlaid with flowers and leaves. (2) 


EIGHTEENTH CENTURY ENGLISH CARVED MANTEL MIR- 
ROR OF THE ADAM PERIOD 

Rectangular frame, headed by a panel painted with a motif of a tri- 

umphant Diana in maroon grisaille on a gold ground. The frame is 

gilded and composed of two leaf-carved fluted Corinthian pilasters 

crowned by an entablature with lion mask dies and a festooned key panel 

on a trellised frieze. 


EIGHTEENTH CENTURY ENGLISH WALNUT WINE COOLER 
Queen Anne period. Square shape, fitted with small drawer at base. On 
four small fluted legs. Shaped and moulded cover, surmounted by turned 
finial. Original copper liner and handles. 


oO! 


SALE THURSDAY AFTERNOON, FEBRUARY RECS) eee aoe U 


628 


629 


630 


631 


632 


633 


FIFTH SESSION 


NUMBERS 628-780 


OLD ENGLISH FURNITURE | 
17TH, 18TH AND EARLY 19TH CENTURIES 


NUMBERS 628-686 


SET OF OLD ENGLISH GREEN IVORY HANDLED CUTLERY 


Comprising 18 knives, with steel blades; carving knife and fork. (20) 


EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE 
Chippendale period. Circular top with beaded edge on turned column, 
supported by three shaped legs carved at the knees and terminating in 
ball and claw feet. 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY HALL 
CHAIRS 

Georgian period. Shaped backs carved on the top in a leaf design; 

rounded seats supported by turned tapering legs. (2) 


EIGHTEENTH CENTURY ENGLISH LADY’S ZEBRA-WOOD 
WORK TABLE 

Lift-up top fitted with small compartment, below which is a sliding work 

bag covered in original silk; supported by turned column on four scroll 

feet. 


EIGHTEENTH CENTURY ENGLISH LADY’S ZEBRA-WOOD 
WORK TABLE 

Lift-up top fitted with small compartments, below which is a_ sliding 

work bag covered in original silk; supported by turned column on four 

scroll feet. 


EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD MIRROR 

Queen Anne period. Shaped mirror plate; leaf and scroll carved frame 

surmounted by leaf-carved pediment. 


93 


634 


635 


636 


637 


638 


639 


640 


641 


642 


EIGHTEENTH CENTURY ENGLISH MAHOGANY POLE 
SCREEN 
Adam period. Folding panel, interior decorated with figures and shell ; 


on turned column with three shaped feet. 


EIGHTEENTH CENTURY ENGLISH WALNUT WING CHAIR 
Queen Anne period. Legs carved at the knees in a shell design and 
terminating in club feet. Upholstered and covered in flowered brocatelle ; 


loose cushion. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- 
ETE 

Chippendale period. Oval top with edge carved in flower and ribbon 

design; stand carved in shell and scroll style; supported by four tapered 

legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WRITING 
TABLE 

Hepplewhite period. Top with carved acanthus leaf edge. Carved 

dies; four square tapered legs carved with fleur-de-lys. Large drawer 

in centre and two smaller drawers on each side. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER 

CHAIR « 
Hepplewhite period. Shaped and carved top rail supported by carved 
and fluted columns. On turned tapering legs. Seat covered in old 
leather. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY ‘TIP-TOP 
TABLE 

Chippendale period. Shaped tray top on fluted column, supported by 

three curved and carved legs. 


EARLY NINETEENTH CENTURY ENGLISH BRASS FENDER 


Of an openwork design; on three claw feet. 


EIGHTEENTH CENTURY ENGLISH NEST OF FOUR TABLES 
Sheraton period. On turned spindle columns, supported by shaped feet. 


OLD FRENCH CARVED AND GILT WOOD SETTEE 
Shaped back with leaf carving; rounded ends; fluted scroll arm sup- 
ports; carved leaf front; on shaped legs. Upholstered and covered. 


94 


643 


644 


645 


646 


647 


648 


649 


650 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER 
CABINET 

Sheraton period. Surmounted by carved and fluted cornice; enclosed by 

glass doors; panelled top; base and sides with fluted moulding. 


EIGHTEENTH CENTURY ENGLISH CONSOLE TABLE 
Chippendale period. Top edge carved in a leaf and flower design; plain 
apron and sides; supported by square legs connected by fretwork-design 
spandrels. 


EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD MIRROR 

Adam period. Frame formed by fluted columns at sides, holding oblong 

panel with wreath and festoons of flowers in relief. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SOFA TABLE 
The top and legs inlaid with a single line of ebony. Straight pedestals 
and stretcher, terminating in plain brass feet. 


TWO OLD ENGLISH PAINTED ARMCHAIRS 

Carved armrests painted with a design of flowers and leaves in many 
colors on a coffee ground. Seats, backs and arms upholstered and cov- 
ered in a flowered material. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST OF 
DRAWERS 

Chippendale period. Top with carved leaf border; fitted with four 

drawers with original brass drop handles. On four carved block feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CIRCULAR 
LIBRARY TABLE 

Sheraton period. The apron is fitted with alternating square and tri- 

angular drawers with original brass ring handles. On columnar support 

resting on four spreading legs with brass claw feet. 


TWO VERY EARLY NINETEENTH CENTURY ENGLISH TER- 
RESTRIAL AND CELESTIAL WORLD GLOBES ON STANDS 
Stands composed of three turned and fluted columns supporting under- 
frame containing compass. By Cary, Strand, London, England, and 


dated 1818. (2) 
95 


651 


652 


653 


655 


656 


657 


oO 
ot 
oe) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR 
Chippendale period. On cabriole legs carved at the knees with a shell 
design; ball and claw feet. Upholstered and covered in a cream-colored 


silk. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY GAMING 

TABLE 3 
Chippendale period. Two hft-up tops, one forming a backgammon and 
chess board, the other a card table; fitted with one drawer; on cabriole 


legs carved at knees; club feet. 


EIGHTEENTH CENTURY MAHOGANY TWO-BACK SETTEE 
Chippendale period. Bow-shaped top supported by grooved and curved 
stiles, centre splat of an openwork design. On cabriole legs carved at 
the knees and terminating with ball and claw feet. Slip seat covered 
in silk damask. 


KIGHTEENTH CENTURY ENGLISH MAHOGANY TWO-FOLD 
SCREEN 

Chippendale period. Spindle legs supporting carvings in a Gothic de- 

sign; turned stretchers. 


EARLY ENGLISH OAK DINING TABLE 7 
Top formed in sections and supported by six spiral legs connected by 
fluted understretchers ; ball feet. 


SIXTEENTH CENTURY FLORENTINE CUT AND UNCUT 
VELVET COVER 

Worked in an all-over pattern of large fleurettes in dark crimson on a 

light crimson and gold ground. Length, 9 yards 20 inches. 


TWO SEVENTEENTH CENTURY ENGLISH WALNUT SIDE 
CHAIRS 


William and Mary period. Shaped backs; square seats supported by 
turned legs connected by similar understretchers. (2) 


OLD FRENCH CARVED AND GILT Woop SETTEE 
Shaped cane back; rounded ends; front carved with rosettes; standing 
on turned and fluted legs. Seat and back upholstered and covered in 


silk brocade. | 


96 


659 


660 


661 


662 


663 


664 


665 


EIGHTEENTH CENTURY ENGLISH FOUR-FOLD LEATHER 
SCREEN 

Painted with a design of dolphins, scrolls, birds, fruit and flowers on 

a gold ground. 


EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND 

PAINTED LEATHER CHEST ON STAND 
The top decorated with a design of fruit and flowers on a black ground, 
with edge studded in brass nails; the front formed by an oblong panel 
painted in a similar design and encircled by a carved wood and gilt 
frame; above is a panel of a vase with festoons of flowers and an urn 
in relief, enclosing keyhole. Rosetted dies, below which are mask heads, 
scrolls and cornucopie holding flowers in carved and gilt wood. The 
sides painted in a manner similar to that of the front; with original 
brass drop handles. On a stand with carved leaf edge, supported by 
hons’ feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CABINET ON 
STAND 

Sheraton period. ‘Top composed of one large and two small cupboards 

enclosed by panelled doors inlaid with bands of satinwood and _ sur- 

mounted by fan-shaped pediment. Stand decorated in a similar manner ; 

on four square tapered legs. 


KIGHTEENTH CENTURY ENGLISH MAHOGANY DINING 
TABLE 

Hepplewhite period. ‘Top with moulded and ribbon-carved edge. Com- 

posed of two ends and one leaf supported by square tapering legs with 

points carved with husk motif. 


SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY 
SIDE CHAIRS | 

Hepplewhite period. Shaped top rail and sides carved with fleurs-de-lys. 

Centre panels composed of carved and fluted splats. On square tapered 

legs. Loose cushion seats covered in pink silk. (6) 


OLD ENGLISH MAHOGANY CELLARETTE 
Circular top with fluted edge. Stand supported by turned tapering legs. 


FIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE 
TABLE 

Chippendale period. Plain top; front and sides carved in a scroll and 

shell design; on cabriole legs carved at knees; claw feet. 


o7 


666 


667 


668 


669 


670 


671 


672 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE 
TABLE 

Chippendale period. Top edge carved in acanthus leaves; plain apron 

and sides; supported by four cabriole legs carved at the knees and ter- 


minating in carved club feet. 


TWO EIGHTEENTH CENTURY ENGLISH CRYSTAL MIRROR 
APPLIQUES 

Georgian period. Rectangular frame with shaped pediment painted in 

eglomisé with scrolls and flowered vases in gold on a sapphire-blue 

ground, fitted with two crystal glass candle brackets which are furnished 

with blue and white crystal drops and pendants. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY POLE 
SCREEN 

Chippendale period. Needlework panel representing a two-handled urn 

and flowers on a black ground; turned and fluted column on three legs 

carved in a floral and fretwork design. 


SEVENTEENTH CENTURY ENGLISH PAINTED WOOD HALL 
SEAT 

Shaped back; scroll shaped arms and supports, all carved in a leaf, fruit, 

flower and scroll design. Ribbon and leaf-carved panel. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE 
Chippendale period. Plain mahogany top with leaf and shell carved 
edge; apron and side carved in a Gothic design; supported by legs of an 
arch-shaped fretwork design, connected by carved scroll spandrels. 


EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD MIRROR 

Chippendale period. Shaped mirror plate, with shell-carved frame; 

on either side are wreaths of fruit, flowers, and leaves, below which are 

leaf and scroll carvings; surmounted by a shell-carved pediment with 

fretted scroll carvings on either side. 


SET OF SIX OLD ENGLISH MAHOGANY HALL CHAIRS 
Panelled top rail supported by fluted columns with centre panel in geo- 
metrical design. Square seat on four fluted tapered legs. (6) 


98 


674 


675 


676 


677 


678. 


679 


TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD PEDESTALS 

Adam period. Square tops supported by fluted tapering columns. In 

the centre is a cupboard enclosed by a door with an urn carved in relief, 


decorated with rams’ heads holding festoons of flowers. Square base with 


moulded edge. (2) 


EIGHTEENTH CENTURY FRENCH PAINTED AND CARVED 
WOOD CHAISE LONGUE 

Louis Seize period. Shaped moulded base carved in a leaf design; curved 

scroll arms on shaped supports; oval seat carved similarly to the back; 

on carved and fluted legs. 


EIGHTEENTH CENTURY ENGLISH PAINTED DRESSING 
CABINET 

Adam period. Fitted with small and large drawers and a small cup- 

board in the centre; the whole painted in a flower design on a coffee 


ground. Supported by spindle legs. 


ENGHTEENTH CENTURY ENGLISH MAHOGANY NEST OF 
TABLES 
Oblong top, supported by two spindle columns on shaped legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING ARM- 
CHAIR 

Hepplewhite period. On square tapered legs carved in a leaf design; 

upholstered and covered in a cerise damask. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD 
TABLE 

Sheraton period. Lift-up top inlaid with bands of satinwood; front and 

sides inlaid in a similar manner; on square tapered legs. 


SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY 
CHAIRS 

Chippendale period. On square legs carved in a fretwork design sup- 

ported by three stretchers; fretwork spandrels; seats and backs up- 

holstered and covered in old English gros point, worked in a wheel pat- 

tern design of many colors. (6) 


3° 


680 


681 


682 


683 


EIGHTEENTH CENTURY ENGLISH MAHOGANY FOUR-BACK 
SETTEE 

Chippendale period. Shaped backs formed by fretted and carved arch; 

top rail and moulded centre rail, on carved supports; scroll-shaped 

arms on fluted columnar armrests and panelled in an arched manner. 

Apron and sides carved in a Gothic design; rosetted dies; on turned and 

fluted tapering legs. Cane seat with loose down cushion covered in 


striped red silk. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY PEDESTAL 
WRITING DESK 

Chippendale period. ‘Tooled red leather top, the edge carved with a 

ribbon and rose motif. Each side fitted with a centre drawer, the left 

pedestal with four drawers, and the right pedestal with a drawer and 

cupboard below. The whole supported on plain bracket feet. 


SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY 
CHAIRS 

Chippendale period. On square legs carved in a fretwork design sup- 

ported by three stretchers; fretwork spandrels; seats and backs uphol- 

stered and covered in old English gros point, worked in a wheel pattern 

design of many colors. (6) 


KIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE 
Chippendale period. The top part composed of one large and two small 
cabinets enclosed by panelled glass doors in an arched Gothic design sur- 
mounted by moulded cornice; lower part, with fluted edge, composed of 
one large and two small cupboards enclosed by panelled doors, set in 
moulding, with carved rosettes in corners; standing on moulded base 
supported by scroll feet. 


[SEE ILLUSTRATION | 


100 


ie oe 


EIGHTEENTH CENTURY ENGLISH MAHOGANY 
CHIPPENDALE PERIOD 


[ 683 | 


BOCKCASE 


684 


685 


686 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SOFA- 
TABLE 

Sheraton period. The top, inlaid with bands of satinwood, is supported 

on two lyre-shaped uprights joined by shaped bracket. The legs termi- 

nate in brass claw feet. The apron is fitted with two small drawers with 

mahogany knobs. 


SEVENTEENTH CENTURY SPANISH DAMASK COVERLET 
Worked in a design of conventionalized flowers, scrolls, and leaves on a 
two-tone salmon-color ground. Length, 11 yards 1 foot. 


SET OF SIX EIGHTEENTH CENTURY ENGLISH SIDE 
CHAIRS AND ONE ARMCHAIR 

Oval backs with centre panel inlaid with flowers and birds; front and 

sides similarly inlaid; shaped fluted legs; seats upholstered and covered 

in green velvet. (7) 


EARLY AMERICAN FURNITURE 
NUMBERS 687-700 


¢ 


Tue following objects were recently acquired by Mr. Henry Symons while 
travelling through Northern New York and the New England States. They 
illustrate admirably the independence of thought characteristic of the Ameri- 
can cabinet maker, and his comely transformation of earlier English models. 


687 


688 


OLD COLONIAL SETTEE 
Shaped back with two scroll ends. On four scroll-shaped legs. Uphol- 


stered and covered with green. 


AMERICAN SOFA IN MAHOGANY 

Covered with black haircloth, upholstered frame, with bow-shaped round 
moulding, the ends of which are carved in rosette form. ‘The seat is 
upholstered, with arms at each end rounded so as to accommodate two 
round cushions. The legs are beautifully carved, with extended carved 


brackets, and terminate with paw feet. <A fine example of Southern 
furniture. 


102 


689 


690 


691 


692 


693 


694 


695 


AMERICAN TWO-DROP LEAF TABLE IN MAHOGANY 

The top formed of a centre stationary panel, and two drop leaves. The 
pedestal supporting top is carved in characteristic manner representing 
wide acanthus leaves. The four spreading legs projecting from a round 
plinth are carved with acanthus leaves and terminate with paw fect. 


AMERICAN COLORED ENGRAVING: FRANKLIN AT THE 
COURT OF FRANCE 

In original condition and original gold-leaf frame. Colored copies of 

this engraving are rare. Printed in 1853. 


OLD AMERICAN MAHOGANY HIGHBOY 

Of unusually small size. The top fitted with three long drawers and two 
small drawers. The lower section, with one long and two small drawers, 
supported by four plain cabriole legs terminating with duck feet. 


OLD AMERICAN CHERRY AND MAPLE HIGHBOY 

The top section, with fluted chamfered ends, is fitted with long and short 
drawers; the top centre drawer front carved with sunburst. The lower 
section, one long and three short drawers. ‘The centre carved with 
sunburst. The four legs are of cabriole form with ball-and claw feet. 


OLD AMERICAN MAPLE FOUR-POSTER BED 
The posts are of half height, well turned, with acorn finials. The wood 
is selected of curly maple. 


SET OF SIX AMERICAN CURLY MAPLE CHAIRS 
Cane seats; fiddle-shaped back, and curved, rolled-back top rail. ‘Turned 
front legs, supported with strap stretcher. (6) 


AMERICAN CHEST OF DRAWERS 

In mahogany and bird’s-eye maple, fitted with four drawers, each drawer 
front banded with mahogany, surrounding a long panel in bird’s-eye 
maple. The front ends of case are formed of columns extended to four 
front legs. The top is shaped to conform with columns. All original 
handles. A fine example of Philadelphia-made Colonial furniture, in 
original condition. 


103 


696 


697 


698 


699 


700 


SIMON WILLARD MAHOGANY HALL CLOCK 

Arched top, surmounted with fret carving. ‘The face is in enamel, deco- 
rated with flowers at four corners, and the arch section has a painting of 
George Washington, crowned with a laurel wreath, surmounted with an 
eagle, and surrounded with clouds. The body of the clock has quarter 
round columns, fluted and inlaid with brass. The plinth has bands of 
inlay and shell. French bracket feet support the clock. An original and 


rare example. 


OLD AMERICAN MAHOGANY DINING TABLE 

Formed in three sections, the tops inlaid with a broad band of satinwood; 
on turned columnar support, standing on three curved legs with brass 
feet. 


OLD COLONIAL MAHOGANY SIDE TABLE BY DUNCAN 
PHYFE 

Fitted with one large drawer and four dummy drawers forming shaped 

ends, carved in a fluted design. On four shaped, turned and fluted tap- 


ered legs. 


OLD COLONIAL MAHOGANY SIDE TABLE BY DUNCAN 
PHYFE : 

Shaped inlaid top; fitted with one large and four dummy drawers form- 

ing shaped ends carved in a fluted design. On four shaped, turned and 

fluted legs. 


EIGHTEENTH CENTURY AMERICAN DUNCAN PHYFE MA- 
HOGANY SECRETAIRE-BOOKCASE 

In two parts. The lower, with broken front, holds three cupboards; the 
centre with two doors having a large oval medallion inlaid in various 
woods; the sides with panelled doors. Above is one long drawer with 
drop front, the interior of which is fitted with an intricate system of 
small drawers and arched pigeonholes; in the centre is a small cupboard 
enclosed by a curved door and flanked by three quarter Doric columns 
facing secret compartments. The upper part, forming a bookcase, is 
fitted with four glazed mullioned doors of which those in the centre bear 
handsome motifs in eglomisé enamel, of musical emblems surrounded by a 
trellis pattern in gold on a black and cream ground. Modillion cornice 
with cornucopia pendants. 


[SEE ILLUSTRATION | 


104 


EIGHTEENTH CENTURY AMERICAN DUNCAN PHYFE 
MAHOGANY SECRETAIRE-BOOKCASE 


| 700 | 


703 


OLD ENGLISH FURNITURE, PAINTED ROOM 
PAINTING BY PIETER HARDIME, AND 18TH CENTURY 
ENGLISH PIPE ORGAN WITH PAINTED PANELS BY 
BENJAMIN WEST, R.A. 


nNuMBERS 701-780 


FOUR EARLY EIGHTEENTH CENTURY PAINTED TAPES- 
TRY CARTOONS 

Executed for the Neuilly Factory after designs by Jean Auguste 
Dominque Ingrés, composed of upright panels, two with allegorical com- 
positions grouped around Venus and Diana, and two others of satyrs 
and nymphs with flying putti in clouds, done in soft-colored distempers 
on a sky-blue ground. (4) 

Size of panels, 9 feet 5 mches x 4& feet 1 inch each. 


EIGHTEENTH CENTURY ENGLISH LACQUER CABINET ON 
STAND : 

Queen Anne period. Upper part composed of four long drawers and 
seven smaller drawers with a decoration of flowers, leaves and butter- 
flies in gold on a black ground. In the centre is a small cupboard en- 
closed by door decorated in a similar manner. The stand decorated with 
painted gold bands and supported by cabriole legs with similar decora- 
tion. (From the Collection of the Earl of Carnarvon, Bretby Hall) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE 
Sheraton period. The top part formed by cabinet enclosed by glass 
panelled door in a Gothic design; at each side of the door are turned 
columns supporting dome-shaped cornice, which is inlaid with bands of 
satinwood and surmounted by carved urn-shaped finial. ‘The lower part 
with moulded edge is fitted with one large and two small drawers, below 
which, at each side, are panelled doors enclosing small cupboards ; carved 
and fluted column legs support shaped undershelf; on six turned and 
carved feet. 


106 


704 


705 


706 


707 


TWO VERY UNCOMMON EIGHTEENTH CENTURY TUN- 
BRIDGE CONSOLE TABLES 

Half-circular tops inlaid in the centre with an oval medallion of satin- 

wood. <A deep border decorated with a design of flowers and leaves in 

various woods on satinwood ground surrounds the entire top. ‘The front 

divided in the centre by an oblong panel of a classical figure decorated 

on either side with views of the Hunt in the form of men, birds, dogs, and 


~ eastle inlaid in satinwood on a green ground. Each panel is surrounded 


by a border similar to the top. Dies inlaid with classical figures; on 
square tapered legs inlaid with oval medallion and floral wreaths in 
satinwood on a green ground; inlaid scroll spandrels. (2) 


SET OF FOUR VERY UNCOMMON EIGHTEENTH CENTURY 
TUNBRIDGE CORNER TABLES 

Triangular tops with panels of similar shape in the centre representing 
rural scenes in the form of figures and castles in satinwood on a green 
ground; the entire top is surrounded by a border of flowers and leaves 
in various woods on a satinwood ground; the front panel represents the 
Hunt with figures of mounted huntsmen, trees and castles in satinwood on 
a green ground. The panel is surrounded by a border similar to that of 
the top; inlaid dies in the form of classical figures; on square tapered 
legs inlaid with oval medallions and floral wreaths. (4) 


Matching the preceding. 


TWO GEORGIAN CRYSTAL TWO-LIGHT APPLIQUES 

Two arm brackets depending upon cut white crystal stem which ter- 
minates in cone-shaped finial. Crowned by festoons of cut blue glass. 
Oval rosetted cut glass back plate. (2) 


TWO GEORGIAN CRYSTAL TWO-LIGHT APPLIQUES 
Similar to the preceding. (2) 


107 


PIETER HARDIME 
putcH, 1678-1758 


708 PAINTING: PUTTI AND FLOWERS 


709 


710 


711 


712 


The centre is occupied by the upright nude figures of youthful putti 
painted en camaicu, holding in their hands and supporting by their heads 
a large bouquet of garden flowers painted in natural colors against a 
dark background. Signed: P. Hardimée, Fc. 

(Pieter Hardimé, a Dutch painter, born at Antwerp in 1678, was a pupil 
of his brother Simon Hardimé, whom he altogether surpassed. He resided 
chiefly at The Hague, but spent some time successively at other towns 
in Holland as well as in Prussia. Having married the sister of the Abbot 
of the Bernardines, near Antwerp, he was commissioned to paint four 
large pictures for that convent, representing the “Four Seasons,” in 
which he introduced the fruits and flowers appropriate to each. In con- 
junction with Terwesten, who painted the figures, he ornamented the 
apartments of the Hotel of the Count of Wassenaer. Towards the latter 
part of his life he retired to Dort, where he died in 1758.) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY DINING 
TABLE 

Hepplewhite period. In three parts. The centre table has two drop 

leaves. The table edge is beautifully carved with a ribbon and rose 

motif, the legs fluted, surmounted by acanthus leaf capitols. The lower 

section also bears the leaf motif and_is finished with a half bowl-shaped 

foot. 


EIGHTEENTH CENTURY ENGLISH PAINTED SUITE OF ONE 
SETTEE AND FOUR SIDE CHAIRS 

Adam period. Settee with shaped back, rounded ends; scroll carved arm 

supports ; fluted apron; on turned, carved and fluted legs. Upholstered 

and covered in green silk. The chairs with oval backs surmounted by 


leaf carving; fluted apron; on turned and fluted legs. Painted in gold on 
green ground. (5) 


EIGHTEENTH CENTURY ENGLISH SIDE CHAIR 
Adam period. White and gold frame; similar to the preceding. 


EIGHTEENTH CENTURY ENGLISH ARMCHAIR 
Adam period. White and gold frame; similar to the preceding. 


108 


713 


[713 | 


SEVENTEENTH CENTURY PAINTED AND TOOLED 
LEATHER WAINSCOT ROOM 

Composed of 28 pieces, each occupied by bold formal arabesques with 

eagles perched upon gilded scrolls and surrounded by trellised reserves 

on a bleu de ciel ground, with borders on a dark green ground heightened 


with gold and crimson. 
[SEE ILLUSTRATION | 


109 


714 


ORE 


T17 


718 


fe 


720 


721 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- 
ETTE babe 
Chippendale period. Leaf and scroll carved border; on square tapering 


legs with leaf carving. 


TWO EIGHTEENTH CENTURY ENGLISH WALNUT STOOLS 
Queen Anne period. Oblong shape with rounded ends, supported by four 
cabriole legs carved at the knees, standing on club feet and connected 
by turned understretcher. Slip seat upholstered and covered in a flow- 
ered brocatelle. (2) 


EIGHTEENTH CENTURY ENGLISH MARBLE MANTELPIECE 
Adam period. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER 
CABINET 

Sheraton period. Cabinet enclosed by glazed door panelled in a fret- 

work design, and fitted with three shelves. On moulded base, and sur- 

mounted by a moulded cornice inlaid in a geometrical style. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY COMMODE 
Sheraton period. Shaped top inlaid with wide band of satinwood; two 
shaped doors inlaid in a similar manner enclosing cupboards; shaped 


sides. 
¥ 


EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND 
GILT MIRROR : 

Georgian period. Sides formed by spirally twisted columns; below is an 

eglomisé painting of flowers; above is an oblong panel with mask heads 

and scrolls carved in relief; surmounted by a carved eagle. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- 
TAIRE-BOOKCASE 

Sheraton period. In two parts. The upper portion is formed as a cabi- 
net enclosed by two glass panelled doors and surmounted by a broken 
arched pediment. The lower section with desk drawer. Below, a cup- 
board with two doors, each inlaid with a conventional shell surrounded 
by an oval of stained green wood. ‘The whole frame inlaid with broad 
and narrow lines of satinwood, boxwood and ebony. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SETTEE 
Chippendale period. Shaped back; winged ends; supported by cabriole 
legs carved at the knees in a shell pattern; standing on ball and claw 
feet. Upholstered and covered in a floral silk damask. 


110 


723 


(24 


725 


726 


(27 


728 


EIGHTEENTH CENTURY ENGLISH FIVE-FOLD PAINTED 
LEATHER SCREEN 

Decorated with a design of large flowers and leaves in colors on a gold 

ground. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY KNEEHOLE 
DESK 

Chippendale period. Carved leaf border; fitted with three drawers on 

cabriole legs carved at the knees. 


EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 
ARMCHAIR 

Chippendale period. Fretwork back with shaped and carved top and 

side rails; shaped arms; front legs carved at the knees; on ball and 

claw feet. Seat upholstered and covered in red silk. 


TWO OLD ENGLISH TERRESTRIAL AND CELESTIAL WORLD 
GLOBES 

Supported by three turned and fluted legs with stretcher holding com- 

pass. Stands painted green and gold. By Cary’s, Strand, London, 

England, and dated 1815. (2) 


SET OF SIX ENGLISH MAHOGANY SIDE CHAIRS AND ONE 
ARMCHAIR 

Hepplewhite period. Square backs with scroll carving on top and sides. 

Supported by carved and fluted slats. Fluted front rosetted dies. Square 

fluted legs with fleur-de-lys carving and connected by understretchers. 

The armchair has shaped arms with leaf carving. Loose seats covered in 


blue silk. (7) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY LADY’S 
WRITING TABLE 

Sheraton period. Top inlaid with bands of satinwood; lift-up screen. 

One drawer, with original brass knobs, fitted with writing compartment. 

Square tapered legs inlaid with bands of satinwood. 


EIGHTEENTH CENTURY ENGLISH CHAIR 

Queen Anne period. Shaped back surmounted by leaf and shell carving; 
centre splat inlaid with a circular medallion with Shakespearian period 
figure; scroll arms inlaid with flowers and carved on shaped supports; 
front and sides inlaid in a similar manner; on cabriole legs carved at the 
knees; ball and claw feet, connected by understretcher. 


111 


731 


732 


733 


EIGHTEENTH CENTURY ENGLISH WALNUT HIGHBOY 
Queen Anne period. In two parts; the top fitted with three long and 
two small drawers; front moulding forms a secret drawer. ‘The lower 
part is fitted with one long drawer, and a shallow drawer in the centre, 
with a deep drawer on either side. The cabriole-shaped legs are beauti- 
fully formed; the top carved in plain cartouche; the feet in bold claw 
and ball form. The drawers fitted with pearl-drop handles. 


EIGHTEENTH CENTURY ENGLISH WALNUT THREE-BACK 
SETTEE 

Queen Anne period. Shaped top rails with leaf and scroll carving in the 

centre, supported by curved side rails; urn-shaped centre splat in a 

fretted leaf and scroll design; curved arms on scroll arm supports. ‘The 

front is decorated with a shell and flower carving in the centre. On 

cabriole legs carved at the knees in a similar manner. Seat and arms 


upholstered and covered in red velvet. 


SET OF SIX SEVENTEENTH CENTURY ENGLISH WALNUT 
SIDE CHAIRS 

Stuart period. High backs with fretted shell, leaf and scroll carved pedi- 

ment; cane panel surrounded by a frame carved in a flower and raised 

fluted design ; supported by turned bell-shaped legs connected by moulded 

shaped understretcher, holding, in the centre, an urn. Seats upholstered 

and covered with Flemish tapestry worked in a design’ of large floral 


bouquets in bright colors on a tan ground. (6) 


EIGHTEENTH CENTURY ENGLISH WALL CABINET ON © 
STAND 

Queen Anne period. Enclosed by two doors inlaid in various woods. In- 

terior fitted with one long and six smaller drawers, in the centre of which 

is a cupboard with three small drawers enclosed by panelled door. Base 

supported by four spiral legs connected by similar understretchers. 


LARGE EIGHTEENTH CENTURY ENGLISH NEEDLEWORK 
PANEL 

Queen Anne period. Composed of 42 small square panels, each repre- 

senting animal and bird life with rustic backgrounds. The panels are 

worked in brilliant greens, yellows, reds, and blues, in silk on a brown 

ground, and are separated by flower and leaf borders worked in similar 

colors on a cream ground. 


Length, 7 feet 4 inches; width, 6 feet 2 inches. 
112 


734 


735 


737 


738 


739 


740 


741 


742 


EIGHTEENTH CENTURY ENGLISH TWO-FOLD PAINTED 
LEATHER SCREEN 

Representing flowers, birds and leaves on a gold ground. Top border 

with a decoration of a basket of flowers. 


SEVENTEENTH CENTURY SPANISH CHEST 
Covered with original red velvet, on which are diamond-shaped wrought 
plates; fitted with original wrought-iron lock and handles. 


OLD OAK DRAW-TABLE 

Measuring, closed, 3 feet 11 inches, and when fully extended, 7 feet 
4 inches. ‘The top is in three parts; the centre is stationary, and forms 
the entire top of the table when it is closed. The two extended portions 
can be drawn out, one or both, and by an ingenious construction main- 
tain a level. ‘The apron is plain. The four legs are of unusually large 
bulbous form. ‘The four stretchers are plain. A genuine example of the 
period of about 1600. 


BALUSTER-BACK CHAIR 
The back formed of four half-turned balusters; the top back rail of 
bracket design. ‘The stretchers are well turned, and the seat is of rush. 


BALUSTER-BACK CHAIR 

The back formed of three half-turned balusters; the top back rail of 
bracket design. The stretchers are of simple turning. —Chair fitted with 
rush seat. 


BALUSTER-BACK CHAIR 
The back formed with four half-turned balusters. The stretchers are 
turned, and the seat is of rush. Period 1690. 


BALUSTER-BACK CHAIR 


Similar to the preceding. 


EIGHTEENTH CENTURY ENGLISH OAK HUNTING TABLE 
Plain top with pull-out extensions. On bulbous-shaped legs connected by 
understretcher ; standing on half round feet. 


TWO SIXTEENTH CENTURY CASTEL DURANTE MAJOLICA 
BUSTS 

Of heroic proportions. One representing Jason, his head covered with 

a Phrygian bonnet, and his body clothed in a shepherd’s sheepskin of 

golden yellow. The other, Achilles, in gold-embossed blue armor and 

gold and blue helmet crested by a mermaid body. (2) 


113 


743 


T44 


TAS 


TA7 


T49 


EIGHTEENTH CENTURY ENGLISH CARVED AND PAINTED 
WOOD CORNER TABLE 

Adam period. Panel carved in the centre with flowered node sides 

carved in a wheel pattern; on turned, fluted, tapering legs carved in a 


leaf pattern. 


EIGHTEENTH CENTURY ENGLISH SHERATON ROLL-TOP 
DESK 

Pull-out front. Interior fitted with four drawers and five small com- 

partments. Base fitted with two drawers. Square tapered legs with leaf 

carving connected by understretchers. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY ARMCHAIR 


“Georgian period. Arms terminating in lion-head; curved arm supports ; 


front and sides carved in a scroll design; on cabriole legs carved at the 
knees; ball and claw feet; eagle-head spandrels. 


EIGHTEENTH CENTURY ENGLISH CARD TABLE 
Sheraton period. Apron inlaid in a chequer design; rosetted dies; on 
four square tapering legs. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- 

TAIRE-BOOKCASE | 
Sheraton period. In two parts. The upper portion is composed of a 
cabinet enclosed by two doors with glass diamond-shaped panels, sur- 
mounted by moulded cornice with festoons inlaid in various colored woods. 
The lower part is composed of a pull-out drawer with drop front fitted 
with various compartments and three drawers. On moulded stand, sup- 
ported by bracket feet. 


EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD SIDE TABLE 

Adam period. Half-circular, with panel carved in a ribbon design hold- 

ing festoons of flowers; flower-carved dies; on fluted and tapering legs; 

turned and shaped understretcher, holding carved urn. Original red 

porphyry top. 


EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD MIRROR 

Adam period. Oval mirror plate, with frame carved in a leaf pattern, sur- 

mounted by an urn from which hang festoons of flowers. At each side, 

seated Sphinx and intricately carved scroll and leaf motives below. 

Below are festoon carvings, with leaf and scroll carvings on each side. 


114 


750 


751 


752 


753 


TO4 


EIGHTEENTH CENTURY ENGLISH CARD TABLE > 
Adam period. Satinwood lift-up top; front panel and sides painted 


in a flower and scroll pattern; on four turned legs decorated in a simi- 
lary manner. 


EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND 
GILT SETTEE 

Adam period. Shaped back with leaf and ribbon carving in centre; 

rounded ends; scroll arms on curved arm supports; shaped fluted apron 


supported by turned, fluted tapering legs. Upholstered and covered in 
rose silk damask; loose cushion seat. 


TWO EIGHTEENTH CENTURY ENGLISH DIRECTOIRE WIN- 
DOW SEATS 

On gracefully shaped and fluted C-scrolled supports; incurved seat, fur- 

nished with four boldly spreading carved and gilded eagle-head arm- 


rests and carved gilt pendants painted black and heightened with gold. 
(2) 


PAINTED MUSIC ROOM OF THE EARLY NINETEENTH CEN- 
TURY 
Composed of sixteen panels. Twelve uprights occupied by the outstand- 
ing figures of Greek goddesses and genre figures, with two panels bearing, 
in addition, groups of allegorical putti, and four overdoors painted with 
children and amorini in blue green landscapes. 
All these decorations are painted in brilliant colors in the style of the 
Classicist revival, on panel, in the original gilded oak mouldings. 
Size of the twelve panels, 4 feet 4 inches x 1 foot 11 inches each. 
Size of the overdoors, 1 foot 10 inches x 2 feet 9 inches each. 


EIGHTEENTH CENTURY ENGLISH PAINTED FOUR-BACK 
SETTEE 

Adam period. Square backs with top rails painted in grisaille represent- 
ing cupids at play; side rails formed by turned columns painted in flow- 
ers and leaves; spindles of a similar design; shaped arms supported by 
turned armrests; front dies painted with fleur-de-lys. Standing on 
turned tapering legs painted in a similar manner. Loose cushion seat 
covered in cream-colored satin. 


BES 


eae 
Or 
or 


~} 
St 
~) 


=f 
Or 
oa) 


760 


EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE 
Adam period. Semicircular shape; top painted with band of flowers with 
outer band of harewood; fitted with one large drawer and two dummy 
drawers; brass drop handles with bone keyholes; underpart enclosed by 
two concave doors, oval panel painted with bouquets of flowers; two com- 
partments on each side fitted with five drawers and shelves and enclosed 
by two similar doors; the whole inlaid with bands of harewood. 


TWO EIGHTEENTH CENTURY ENGLISH PAINTED POLE 
SCREENS 

Adam period. Pole painted in a design of flowers; holding a shield- 

shaped panel decorated in the centre with an urn and surrounded by 

scrolls. Supported by turned column standing on three cabriole legs 


painted in a similar manner. (2) 


EIGHTEENTH CENTURY ENGLISH PAINTED CABINET 

Adam period. In two portions, the lower enclosed by one panelled door 
painted in a design of oriental figures and views, with turned columns 
at each side. Returns painted in a similar manner. The top part com- 
posed of a cabinet and four drawers enclosed by two panelled doors with 
turned columns at either side.. Doors and returns decorated in a similar 


manner to the bottom. 


EIGHTEENTH CENTURY ENGLISH CARVED AND PAINTED 

WOOD MANTEL MIRROR ; 
Adam period. Centre composed of a convex mirror surrounded by leaf- 
carved border and flanked by oblong mirror plates with fluted pilasters 
and headed by richly carved capitol enrichments on either side; sur- 
mounted in the centre by a carved and gilt panel representing dancing 
female figures; on either side are festoons and musical instruments. 
Moulded cornice. 


TWO EIGHTEENTH CENTURY ENGLISH CARVED AND 
PAINTED WOOD PEDESTALS 

Georgian period. Square tops with beaded and flowered edges; on 

shaped tapered columns with intricate scroll and shell carvings in relief. 

On moulded bases. (2) 


EIGHTEENTH CENTURY KNEEHOLE SATINWOOD DESK 
Adam period. Top with classical figure painted on each side. Fitted 
with ten small drawers and one large drawer painted with festoons of 


flowers. Kneehole with door enclosing cupboard painted in a similar 
manner. 


116 


761 


763 


764 


765 


766 


SET OF FOUR EARLY NINETEENTH CENTURY ENGLISH 
SIDE CHAIRS AND ONE ARMCHAIR 

Backs formed by turned and fluted shaped top rail and two shaped 

under rails holding cane panels; cane seats with cushions covered in 


old chintz. (5) 


EARLY NINETEENTH CENTURY ENGLISH PAINTED COR- 
NER CUPBOARD 

Hanging cupboard enclosed by two convex doors painted in a design of 

draped figures in flowing robes of bright colors. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD ROLL-TOP 
DESK 

Adam period. Cylindrical top. The interior fitted with small drawers 

and compartments; pull-out writing slide; lyre-shaped supports, con- 

nected by carved understretcher. On shaped legs. 


TWO EIGHTEENTH CENTURY ENGLISH SATINWOOD ARM- 
CHAIRS 

Chippendale period. Backs in the form of Chinese latticework, sur- 

mounted by pagoda-shaped top rail; on square legs. Seats covered with 

gros and petit point needlework in a floral design worked in bright 

colors. (2) 


EIGHTEENTH CENTURY ENGLISH PAINTED SETTEE 
Adam period. Back formed by shaped top rail with fretwork splats in 
a Gothic design; painted with flowers on a coffee ground. Shaped arms 
on scroll supports with panels similar to the back. On square tapered 
legs painted in a beaded design. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE 
Adam period. Top part has an oval inlaid panel representing urn with 
inlaid scrolls and drapings. Border inlaid in a similar manner with 
mahogany edge. Underpart enclosed by two concave panelled doors 
inlaid with oval medallions of urns with flowers and drapings; sides have 


mahogany inlays; on four shaped feet. 


LT 


767 


EIGHTEENTH CENTURY ENGLISH SATINWOOD BOOKCASE 
Adam period. Upper part composed of a cabinet enclosed by two glass 
doors, the frames of which are inlaid with a fleur-de-lys on a satinwood 
ground; sides inlaid with bands of kingwood surmounted by shaped 
cornice inlaid with floral sprays, below which, in the front and at the 
sides, are rams’ heads holding festoons of leaves; inlaid in various woods 
on a satinwood ground. The stand inlaid on the top with an oval 
medallion set in reserve by leaf scrolls representing a manuscript with a 
view of Dumbarton Castle. Below are two long drawers inlaid with 
floral and leaf scrolls; dies inlaid in a similar manner; on square tapered 
legs inlaid in the centre with fleur-de-lys and surrounded by a narrow 


kingwood border. 


[SEE ILLUSTRATION ] 


118 


EIGHTEENTH CENTURY ENGLISH ADAM 
SATINWOOD BOOKCASE 


[767] 


EARLY EIGHTEENTH CENTURY ENGLISH SIX-FOLD 
LEATHER SCREEN 


[768] 


(68 EARLY EIGHTEENTH CENTURY ENGLISH PAINTED SIX- 
FOLD LEATHER SCREEN 
Queen Anne period. Each panel painted in three tiers with bird sub- 


jects, hunting and genre scenes in brilliant colors on a gold ground. 
Framed in tooled leather binding and studded with nails. 


[SEE ILLUSTRATION | 


120 


769 


= 
=~ 
So 


T12 


775 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- 
TAIRE-BOOKCASE 

Chippendale period. Upper part enclosed by two panelled doors sur- 

mounted by scroll and shell-carved cornice. Lower part with drop front 

secrétaire fitted with drawers and compartments. Below are four large 

drawers. 


SET OF FIVE EIGHTEENTH CENTURY ENGLISH PAINTED 
ARMCHAIRS 

Adam period. Backs formed by shaped top rail supported by straight 

side rails with cross splats painted in leaves on a coffee ground; shaped 

arms on scroll supports; fronts and sides painted in a flower and leaf 

design; floral dies; on square tapered legs painted in beaded style. (5) 


TWO EIGHTEENTH CENTURY ENGLISH SATINWOOD ARM- 
CHAIRS 

Adam period. Shield-shaped back with curved splats painted with bou- 

quets of flowers; curved arms on shaped armrests; on square tapering 


legs painted in a floral design. Seats upholstered and covered in red 


silk damask. (2) 


SET OF EIGHT EIGHTEENTH CENTURY ENGLISH PAINTED 
AND CARVED WOOD CHAIRS 

Adam period. Square moulded backs carved in a leaf design. Front 

and sides carved in a similar manner. Rosetted dies on square fluted 


tapering legs. (8) 


TWO ENGLISH POLE SCREENS 
Adam period. ‘Triangular base carved in a leaf and geometrical pattern 
supporting column which holds oval panel decorated in flowers. (2) 


EIGHTEENTH CENTURY .ENGLISH SATINWOOD ROLL-TOP 
DESK 

Adam peried. Cylindrical top painted in a design of flowers. Scroll 

interior fitted with small drawer and compartment and one cupboard 

enclosed by door, which is painted in a similar manner; below are three 


long drawers; standing on square tapered legs. 


TWO EARLY NINETEENTH CENTURY ENGLISH TERRES- 
TRIAL AND CELESTIAL WORLD GLOBES 

Supported by turned column en three shaped legs. By Cary, London, 

England. Dated 1816. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING 
CHAIR 

Chippendale period. On square legs carved in a Gothic design. Up- 

holstered and covered in English crewel work on blue ground. 


121 


SUPERB GEORGIAN PIPE ORGAN WITH PAINTED PANELS 
BY BENJAMIN WEST, R.A. 
FORMERLY OWNED BY LORD LOVELACE. 


EIGHTEENTH CENTURY ENGLISH PIPE ORGAN WITH 
PAINTED PANELS BY BENJAMIN WEST, R.A. 

Of the period of George III. Upright domed circular case of heroic 
proportions. On a circular moulded bronze base inlaid with a par- 
queterie flooring of ebony and bone triangles. ‘The body is composed of 
a sturdily moulded plinth of ebony with members of bronze and marble, 
and a circular case holding a system of pipes, a turned wheel system’ 
and a roll. There are two lever handles finely chased with rose petals. 
The exterior of the case is flanked by four panelled brackets enriched 
with superbly chiselled ribbon swags and voluted floral arabesques of 
ormolu. ‘The sound doors are covered with fretted arabesques, musical 
emblems, mascarons, and festooned urns in an all-over pattern of richly 
gilded ormolu. The case is headed by a broad entablature of ebony 
enriched with Greek leaf ornaments in bronze and crested by four alle- 
gorical bronze figures depicting the phases of Music; upon this is placed 
an eight-sided cabinet with chamfered corners of double Corinthian fluted 
columns standing free, with brass and ebony entablature, topped by 
oriflamme urn finials, flanking arched panels painted on copper depicting 
the stories of the power of Music, expressed in incidents from the lives 
of Young David, Ulysses, Arion and Orpheus, in brilliant tones of 
draperies and soft flesh tints with backgrounds of sky-blue. The top is 
again enriched with fretted floral arabesques and crowned by a pierced 
dome, surmounted by a temple of eight slender Corinthian columns with 
festooned frieze and fretted baluster plinth, and crowned on the very top 
by a figure of the Flying Mercury after Gian Bologna. 

(From Lord Lovelace) 


178 


7784 


778B 


778D 


778 


779 


780 


NINETEENTH CENTURY ENGLISH NEEDLEWORK FIVE- 
FOLD SCREEN 

Each fold is divided into four panels representing birds, fruit, flowers 

and figures. 


LWO EIGHTEENTH CENTURY MAHOGANY HALL CHAIRS 
Adam period. Shield-shaped backs. Carved at the top in scrolls and 
ram’s head. Oval medallion in centre with urn. Shaped fluted front; 
rosetted dies; on square tapered legs. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY LADY’S 
WRITING TABLE 

Chippendale period. Top with carved edge; fitted with one drawer and 

interior writing compartment. Original brass knob. On four square 


tapered legs. 


EIGHTEENTH CENTURY ENGLISH OVERMANTEL 

Adam period. Upper part composed of a painting representing four 
amorini at play; below are two small and one large mirror plates ; sur- 
mounted by gilt moulded frame. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD CONSOLE 
TABLE 

Adam period. The top has green floral and scroll border; front has 

inlaid harewood panel in a scroll design; supported by four square 

tapering legs. 


EIGHTEENTH CENTURY ENGLISH CONSOLE TABLE 

Adam period. Top painted with musical trophies and garlands of 
roses, with border painted in a floral design; fluted apron and sides; 
carved gilt rosetted dies; four fluted tapering legs. 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY KNIFE 
BOXES 

Sheraton period. Cover inlaid with oval panel of a shell design in satin- 

wood. Shaped and fluted front with satinwood inlay. (2) 


EARLY NINETEENTH CENTURY ENGLISH BRASS FENDER 
Fluted and openwork design, standing on three shaped feet. 


123 


SALE THURSDAY EVENING, FEBRUARY HIRD Lea Le O8s16 


SIXTH SESSION 
NUMBERS 781-909 


Tue development and achievements of the British N avy could probably not 
be more emphatically expressed than by the contemporary models, prints and 
paintings in this collection. 

With the interest in the navies of bygone years just reaching the stage of 
seriousness manifested by the formation of private collections and associations 
to develop the study of marine history still further, the rare examples shown 
are sure to evoke unusual attention and comment. 

Never before has a collection of such quantity or quality been offered at 
public sale. This miniature fleet consists of some fifty models, comprising 
every stage of modelling and construction, from the very highest type of 
Admiralty designer’s model to the work of the common seaman. ‘The Ad- 
miralty model of the British man-of-war “Isis,” famed for her engagements 
with American ships during the War of 1812, the fine early walnut 
Dutch man-of-war, the original designer’s model of the British fighting sloop 
“Reckless,” figure among the gems of the collection. The bone models con- 
structed by the French prisoners of war in the English prisons during the 
Napoleonic struggles are represented in the form of frigates, sloops, second 
and third raters. In addition, there are many models in wood of the brig 
and clipper types. 

The canvasses depicting engagements with the Dutch and French are by the 
most famous naval artists produced by England in the eighteenth century. 
Here we have Nicholas Pocock, Arthur and Richard Paton, Holman, Butter- 
worth, Monamey and Serres. These artists in their individual striking manner 
have portrayed actions which they have either themselves witnessed, or which 
have been painted from contemporary sketches. 

Many fine prints, some in colors, go far to round out the detailed actions 
memorable in British naval annals. 


NAVAL AND MARINE PRINTS 
NUMBERS 781-800 


781 ADMIRAL NELSON 
Tue Rewarp or Covracr, or Nelson Triumphant. 
Tue Hazarps or War, or Nelson Wounded. 
Four lines of verse beneath each title. Mezzotints in color. Published, 


London, November 24, 1798, by J. Fairburn. Folios. Framed. (2) 
125 | 


788 


784 


785 


786 


LORD NELSON 

Baron Nelson of the Nile; and of Burnham Thorpe in the County of 
Norfolk. Four lines of tribute under title. Mezzotint. Published, 
London, Oct. 13, 1798, by John Fairburn. Small upright folio. 


Framed. 


AMERICAN SHIP “OCEAN MONARCH” 
Destruction of the American Emigrant Ship “Ocean Monarch,” Aug. 
24, 1848. Tinted lithograph by Maclure, Macdonald and Macgregor. 
Published, Liverpool, 1848. Folio. Framed. 


ENGLISH AND FRENCH FLEETS IN THE BALTIC, 1854 
Senpinc oN Boarp THE ADMIRAL FOR LETTERS AT SEA. 

MEETING OF THE ENGLISH AND FreNcH FLEETS OFF Baro ScuND, JUNE 
13, 1854. 

Encusu Furer Enrertnc THE Great Beit, Marcu 24, 1854. 
Bomarsunp, ComBineD ATTACK ON THE Forts, Ave. 15, 1854. 

O. W. Brierly, del. J. Needham, Lithographer. Shipping by Dutton. 
Colored lithographs by Day & Son, lithographers to the Queen, London, 
1855. Large folios. Framed. (4) 


ENGLISH AND FRENCH FLEETS IN THE BALTIC, 1854 
VESSELS OF THE FRENCH ImpEeRiIaAL Navy MAannine anp ArMING Boats, 
Baro Sounp. 

Tue FLeets BEcALMED. Screw SHIPS GETTING STEAM UP. 

First Destruction oF Bomarsunp. Biowrnce ve Matn Fort Sept. 2, 
1854. 

Her Magsesty’s Suirs “Arrocant,”’ Carr. H. R. YELVERTON, AND 
“Hecua,” Capr. W. H. Harr, DEstroyinc THE BATTERIES AT ECKNEsS. 
May 20, 1854. 

O. W. Brierly, del. J. Needham, Lithographer. Shipping by Dutton. 
Colored lithographs by Day & Son, lithographers to the Queen, London, 
1855. Large folios. Framed. (4) 


ENGLISH AND FRENCH FLEETS IN THE BALTIC, 1854 

THE FLEET oFF Haneco. 

A Gate In THE Bautic. 

THE FLEET PROVISIONING AT SEA. 

H. M. S. “Driver” anp Yacuts “GonpoLta” anp “ESMERALDA” OFF 
CRONSTADT. 

O. W. Brierly, del. J. Needham, Lithographer. Shipping by Dutton. 
Colored lithographs by Day & Son, lithographers to the Queen, London, 
1855. Large folios. . Framed. (4) 


126 


(87 


788 


789 


790 


791 


NAVAL PRINTS 

H. M. 8. “Coriinewoop,” 80 Guns. H. M. S. “Inconstanrt,” 36 Guns, 
AT Rio JANEIRO. 

THE FLeret BEcALMED Crossinc THE LINE. 

H. M.S. “Neprune,” 120 Guns. H. M.S. “Sr. Georce.” 

Tinted lithographs by Day & Son, London. Folio. Framed. (3) 


NAVAL PRINTS 

THE BoMBARDMENT oF Atcrers, Auc. 27, 1816. 

Painted by Whitcombe. Colored engraving by T. Sutherland. 

A View oF THE UNPARALLELED Action Foucut Ocr. 1, 1807. 

Painted by Whitcombe. Colored aquatint by J. Harraden. Folios. 
Frame. (2) 


NAVAL PRINTS 

TAKING OF THE “ST. JOSEPH,’ 
23, 1789. 

Painted by P. Monemie. Line engraving by R. Farr. 
H. M. S. rHe “BLENHEIM.” 


Painted by Baston. Laine engraving by E. Kirkall. 


> a SPANISH CARRACCA SHIP. SEPTEMBER 


A Suir on Fire. 
Painted by W. Vanderveld. Mezzotint by R. Houston. Folios. 
Framed. (38) 


NAVAL PRINTS 

ARRIVAL OF GENERAL Baracuay D’Hiuuiers ar LEDsuND. 

H. M. S. “Hicuruier,” Carr. Joon Moore. 

O. W. Brierly, del. J. Needham, Litho. Colored lithographs by Day 
& Son, London, 1854. 

Cutter Yacut “CHALLENGER,” 22 Tons. 

T. G. Dutton, del. Lithograph by Day & Son, London. Folios. 
Framed. (3) E 


NAVAL PRINTS 

A GALE IN THE Batric. 

O. W. Brierly, del. J. Needham, Litho. Colored lithograph by Day 
& Son, London, 1855. 

Tue ATrack oF THE “VANGUARD” (CoMMANDED By Sir Wm. WINTER) 
ON THE SpANisH ArmapDA, Aue. 8TH, 1588. 

Oswald W. Brierly, del. Line engraving by A. Willmore. 

DEFENCE OF GIBRALTAR, SEPT. 13, 1782. 

Rich. Paton. Line engraving by James Fittler. Folios. Framed. (3) 


127 


792 


793 


794 


T94A 


NAVAL PRINTS 

Sir Rrcuarp STRACHAN’s Action, NOVEMBER 4TH, 1805. 

Painted by T. Whitcombe; colored aquatint by J. Jeakes, London, 1816. 
Lorp Bripport’s AcTIon OFF Porr L’ORIENT, JUNE 25RD, 1795. 
Painted by T. Whitcombe; colored aquatint by J. Bailey. 

Sir Rosert Cauper’s Action, JuLtyY 22nd, 1805. 

Colored aquatint by T. Sutherland. 

Battie ofr Care Sr. Vincent, Fesy. 147TH, 1797. 

Colored aquatint by J. Bailey. 

Lorp Horuam’s Action, Marcu 147TH, 1795. 

Colored aquatint by T. Sutherland. 

Sir J. T. DuckwortH’s Action oFF St. Dominco, Fresy. 6TH, 1806. 
Colored aquatint by T. Sutherland. 

Small folios. Framed. (6) 


NAVAL PRINTS 

Parr—DEFEAT OF A SQUADRON OF SPANISH SHiIps UNDER COMMAND OF 
Don Juan vE Lancarn sy H. M. 8S. Suips orr Caps Vincent, 16TH 
Jany., 1780. 

Painted by Richard Paton. Line engravings by Lerpiniere. 

Batrue oF La Hocuet. 

Painted by Benj. West. Engraved by Woollett. London, 1781. 

THe REuiEF oF GisraLtar, 1782. 

Painted by Paton. Engraved by Lerpiniere. Folio. Framed. (4) 


NAVAL PRINTS 

BaTTLe OF THE NILE. 

Colored Aquatint. 

Virw oF THE ATTACK MADE AT ALGIERS BY THE BritrisH SQuapDRON, 29TH 
oF Auve., 1816. 

Painted by Carlo Cominatti. Aquatint by Giovanni Silvestre. 

Takinc or THE “Marauese DE ANTIN” ann “Louis ERASME” BY THE 
“PRINCE FREDERICK” AND “DuKE,” PRIVATEERS. 

Painted by Brooking. Line engraving by Ravencet. 


Folios. Framed. (3) 


NAVAL PRINTS 

THe “NEtson” 

Two engravings, one showing her in the ways, and the other, the launch- 
ing. Drawn by L. Francia. Engraved by W. B. Cooke. Published, 
London, 1815. Small folios. Framed. (2) 


128 


71948 NAVAL PRINTS 


795 


796 


797 


798 


729 


ENeuisH Cutter ““ENTREPREMANTE” Encacinc Four SHIPS OF THE 
FrencH Navy orr CastLe Ferro, DEcEMBER 12th, 1810. 
Colored aquatints by George Andrews. Large folios. Framed. (2) 


NAVAL ARCHITECTURE 

The original plate No. XI for the Naval Architecture. The centre 
displaying complete stern view of a ship of the line flanked by bow and 
stern view of the ship “George IV.” In color, in oval frame. 


Height, 17 inches; width, 24 inches. 


LIBER NAUTICUS 

An Instructor in the Art of Marine Drawing, by Dominick Serres, R. 
A., and John Thomas Serres. Parts 1 and 2. Published, London, 
1805. Contains 17 engraved plates. Folio. 


YACHTS 

Tue Currer Yacut “Cynruia,” 150 Towns. 

Painted by N. M. Condy. Colored lithograph by T. G. Dutton. Pub- 
lished, London, 1850. 

THe ScHooner Yacut “ANACONDA.” 

Painted by N. M. Condy. Colored lithograph by T. G. Dutton. Pub- 
lished by Day & Haghe, London, 1850. 

His Masesty’s Sure “Panvora,” FatMoutTH PACKET. 

Painted by N. M. Condy. Lithograph by G. Hawkins. Published by 
Day & Haghe, London, 1843. Folios. Framed. (3) 


YACHTS 

Bric Yacut “WANDERER.” 

Painted by C. W. Brierly. Colored lithograph by Day & Haghe. 
Iron Yacut “Mystery.” 

Painted by N. M. Condy. Colored lithograph by Day & Haghe. 
Cutter Yacut “Cycnet.” 

Painted by C. W. Brierly. Colored lithograph by Day & Haghe. 

Tue “Museuiro” Yacut, Breatinc THE “CyNTHIA” AND “CYGNET.” 
Painted by W. A. Knell. Lithograph by T. G. Dutton. Published by 
Day and Son, London, 1851. Folios. Framed. (4) 


THE SCHOONER YACHT “AMERICA” 

Formerly the property of Commodore J. C. Stevens, New York Yacht 
Club. Colored lithograph by Day & Son after the painting by T. G. 
Dutton. Published, London, by Ackerman, 1851. Folio. Framed. 


The English print of the Yacht “America” is seldom seen and is by far 
the scarcest of the six known published folio prints. 


129 


800 


8004 


SO0OB 


801 


SET OF FOUR CONTEMPORARY FRENCH WATER-COLOR 
DRAWINGS 

BucuicaM DE 66 Canons Bate Tres VAxELLs FRANCESOs. 

Batratta Entre Tres Vaxetis [NciEsos y Set FRANcESos, y LOS 

Unutims Foren Batots. 

CirI DE QUEBEC PAR LOS INGLESOS. 

DESEETA DE UNA EsQquapRA FRANCESA, PAR UNA Esquapra INGLESA, 19 

Acost 1759. 

Contemporary water-color drawings. Artist unknown. Depicting sev- 

eral incidents of the early naval engagement between France and Great 

Britain. (4) Height, 14 inches; width, 21 inches. 


“BELLEROPHON” 

Off Egmont, March, 1811. Hobeley Bay, June 4th, 1812. 

Original water-color drawing, artist unknown. Small folios. Framed. 
(2) 

The “Bellerophon” became famous as the ship which transported Napo- 
leon to his exile. 


THE BATTLE OF SOLEBAY (OR SOUTHWOLD BAY), SUF- 
FOLK, MAY 28TH, 1672 

A series of ten water-color and crayon sketches on vellum, linen-backed, 
delineating the various incidents and battle formation of the two navies. 
Long panels containing various sections. 

A very interesting contemporary series describing authentically one of 
the fiercest naval battles of the seventeenth century. ‘The English and 
French, commanded by the Duke of York, afterwards James II, attacked 
the Dutch fleet. Many were killed or wounded and later the enemy fled. 


THE RARE MARINE SERIES IN COLOR 
AFTER THE FAMOUS PAINTINGS BY 
DOMINICK SERRES, R.A. 


NUMBERS 801-813. 


A SNOW, WITH A VIEW OF THE SOUND AND NEW STONE 

A YACHT IN A LIGHT BREEZE WITH A VIEW OF HARWICH 
The “Queen Charlotte” Yacht with her present Gracious Majesty on 
Board. 

Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, 
sculp. Published, London, 1807. Folios. Framed. (2) 


130 


802 


803 


804 


805 


S06 


807 


S08 


809 


A SLOOP OF WAR WITH A VIEW OF OLD HARRY IN STUD- 
LAND BAY 

A BEAN COD WITH A VIEW OF BELEM CASTLE ON THE 
RIVER TABUS 

Pair of colored aquatints. Edw. Orme, excudit. J. Clark and J. 

Hamble, sculp. Published, London, 1807. Folio. Framed. (2) 


A DUTCH GALLIOT, WITH A VIEW OF AMSTERDAM 

A DUTCH FISHING BOAT WITH A VIEW OF HELVOIT SLUYS 
Pair of colored aquatints. Edw. Orme, excudit. J. Clark and J. 
Hamble, sculp. Published, London, 1807. Folio. Framed. (2) 


A SHIP OF THE LINE IN THE DOWNS 

A SETTEE WITH A VIEW OF THE LIGHT HOUSE AT GENOA 
Pair of colored aquatints. Edw. Orme, excudit. J. Clark and J. 
Hamble, sculp. Published, London, 1807. Folio. Framed. (2) 


A 90 GUN SHIP AT SPITHEAD 
Colored aquatint. Dom’k. Serres, R. A. del. Edw. Orme, excudit. J. 
Clark & J. Hamble, sculp. Published, London, 1807. Folio. Framed. 


A FIRST RATER: THE PORTRAIT OF THE “ROYAL GEORGE” 

A CHASSE-MAREE, WITH A VIEW OF THE CITADEL OF 
PALAIS AT BELLEISLE 

Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, 

sculp. Published, London, 1807. Folio. Framed. (2) 


A LUGGER, WITH A VIEW OF THE EDDYSTONE LIGHT 
HOUSE 

A BERMUDIAN SLOOP WITH A VIEW UPON THE SPANISH 
MAIN ) 

Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, 

sculp. Published, London, 1807. Folio. Framed. (2) 


A BOMB KETCH IN THE SOUND 

A FRIGATE WITH A VIEW OF THE NEEDLES 

Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, 
sculp. Published, London, 1807. Folios. Framed. (2) 


A CUTTER, WITH A VIEW OF SOUTH SEA CASTLE 

A SLOOP WITH A VIEW OF CALSHOT CASTLE 

Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, 
sculp. Published, London, 1807. Folios. Framed. (2) 


131 


810 


§11 


813 


814 


815 


A COLLIER, WITH A VIEW OF THE SOUTH FORELAND 

A CALM WITH THE ENTRANCE INTO PORTSMOUTH 

Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, 
sculp. Published, London, 1807. Folios. Framed. (2) 


A POLACCA, WITH A VIEW OF STROMBOLI 

A NEAPOLITAN GALLEY AT ANCHOR OFF THE CASTELL 
VECCHIO, LEGHORN 

Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, 

sculp. Published, London, 1807. Folios. Framed. (2) 


A TARTON, WITH A VIEW OF EUROPA POINT, GIBRALTAR 

A CHEBECK OR XEBEC, WITH A VIEW OF THE LIGHTHOUSE 
ON THE MOLE AT NAPLES 

Pair of colored aquatints. Dom. Serres, del. J. Clark and J. Hamble, 

sculp. Edw. Orme, excudit. Published, London, 1807. Folios. Framed. 


(2) 


A SCHOONER, WITH A VIEW OF NEW YORK, 1807 
Colored aquatint. Edw. Orme, excudit. J. Clark & J. Hamble, sculp. 
Published, London, 1807. Folio. Framed. Rare. 


MARINE AND NAVAL PAINTINGS BY THE 
ENGLISH MASTERS OF THE EIGHTEENTH CENTURY 


NUMBERS 814-837 


THOMAS BUTTERWORTH 


ENGLISH, EIGHTEENTH CENTURY 


THE BRITISH MAN-OF-WAR “TIGER” 
In full sail leaving the shore of Liverpool. Canvas. 
Height, 10 inches; length, 14 inches. 


THOMAS BUTTERWORTH 


ENGLISH, EIGHTEENTH CENTURY 


A DUTCH SLOOP-OF-WAR OF TWENTY GUNS 

Before the wind with an English Frigate passing. The white cliffs of 

Dover in the distance. The artist has well portrayed a dark threaten- 

ing sky and a heavy choppy sea. Canvas. Signed at the lower left. 
Height, 27 inches; width, 44 inches. 


132 


816 


817 


818 


819 


820 


F. HOLMAN 


ENGLISH, 1780 


BRITISH MAN-OF-WAR “EARL OF EFFINGHAM” 

The man-of-war is raising sail with cutter leaving side. Other ships of 
the fleet getting under way. In the distance the city of Liverpool. A 
slight rose hue over the sky of early morning. Canvas. Signed at the 
lower right. Height, 35 inches; length, 59 inches. 


PETER MONAMEY 


ENGLISH, EIGHTEENTH CENTURY 


THE SALUTE 


The “Royal George” about to anchor, receiving salute from an armed 


sloop. Portrayed on placid sea with clouded sky. Canvas. A charm- 


ing example of one of England’s most noted marine painters. 
Height, 17 inches; length, 27 inches. 


ARTHUR PATON 


BRITISH, EIGHTEENTH CENTURY 


AN ENGLISH FRIGATE 

Passing the White Cliffs of Dover. Under full sail. Several other ships 
under a head wind. The day is clouded and the sea pictured with long 
swells. Canvas. Framed. Height, 15 inches ; width, 18 inches. 


UNKNOWN ARTIST 


ENGLISH, NINETEENTH CENTURY 


MERCHANTMEN 
Two merchantmen in the foreground. The crew of the one actively 
engaged in handling the canvas, the other in full sail clearing the port. 


Further shipping activity is portrayed. Canvas. 
Height, 27 inches; length, 43 inches. 


UNKNOWN ARTIST 
ENGLISH, EIGHTEENTH CENTURY 
THE BATTLE OF THE NILE 


The battle in progress with several ships disabled and the cutters picking 
up the men. Canvas. Height, 21 inches; length, 37 inches. 


133 


bo 


RICHARD PATON 


ENGLISH, 1717-1791 


THE LAUNCHING WAYS AT DAVENPORT | 

An interesting view of the old Admiralty yards, with several first caters 

under construction and several naval vessels ready for launching. Panel. 
Height, 15 inches; length, 22 inches. 


NICHOLAS POCOCK 


ENGLISH, EARLY EIGHTEENTH CENTURY 


THE ATTACK 

A Fleet of Seventeenth Century English naval vessels with the flagship 

in the foreground, displaying her beautifully decorated stern enriched 

with three lanterns. British flags at stern and Jack at mizzen mast. 

She is firing a broadside into the Dutch vessel to which she has made 

fast. Dark clouded sky with turbulent sea. Canvas. Framed. 
Height, 414 feet; width, 8 feet. 


[SEE ILLUSTRATION | | 


DOMINICK SERRES, R.A. 


PNGLISH. biog 


THE ENGLISH NAVAL TRAINING SCHOOL AT GREENWICH 
ARSENAL 

In the forepart of the picture a fine old man-of-war in full sail, of an 

earlier period, evidently relegated for training purposes. Several cut- 

ters manned by students under instructing officers. The buildings of 

the school and a view of the country can be seen in the distance. Can- 

vas. Signed and dated. Height, 19 inches; length, 26 inches. 


One of the finest canvasses of Dominick Serres, equalled only by several 
large examples now on view at the Greenwich Museum. 


[SEE ILLUSTRATION | 


UNKNOWN ARTIST 


DUTCH, EIGHTEENTH CENTURY 


AN ENGLISH BRIG 
Returning the salute of several Dutch craft. Canvas. 
Height, 26 inches; width, 36 inches. 


134 


“THE ATTACK,” BY NICHOLAS POCOCK 
[822] 


' THE ENGLISH NAVAL TRAINING SCHOOL AT GREENWICH 
ARSENAL, BY DOMINICK SERRES, R.A. 


[ 823 | 


826 


829 


W. J. TENTHEM 


ENGLISH, 1805 


BURNING OF THE SPANISH SHIPS 

October 25, 1805. Four days after the Battle of Trafalgar. By 
Lieut. Alexander Dixie on H. M. Ship “Phoebe.” ‘The two ships are 
seen ablaze, with the town at the right. The British cutter with destroy- 
ing crew pulling away. Canvas. Framed. From the Bosworth Hall 
Sale, 1885. Height, 20 inches; length, 30 inches. 


LOUIS VERBOECKHOVEN 


DUTCH, EARLY NINETEENTH CENTURY 


DUTCH MERCHANTMAN 

“Hove To,” with brilliant reflection in the water and shore line in the 
distance. Several fishing boats in the foreground. Panel. Signed in 
the lower left corner. Framed. Height, 11 inches; width, 17 inches. 


UNKNOWN ARTIST 


ENGLISH, EIGHTEENTH CENTURY 


BATTLE OF TRAFALGAR 
Spirited action. Several ships dismasted. Canvas. 


Height, 24 inches; width, 33 inches. 


UNKNOWN ARTIST 


ENGLISH, EIGHTEENTH CENTURY 


BRITISH MAN-OF-WAR 
Entering the Harbour of Plymouth. Many types of vessels portrayed. 
Canvas. Height, 33 inches; width, 60 inches. 


HORACE VERNET 


FRENCH, EARLY NINETEENTH CENTURY 


ENGLISH MAN-OF-WAR 
Setting sail preparatory to departing, and the salutes from the in- 


habitants ashore. Ship showing her finely decorated stern and galleries. 
To the left the castle tower. Canvas. 


Height, 22 inches; length, 27 inches. 
136 


830 


831 


832 


833 


834 


C. P. WILLIAMS 


ENGLISH, NINETEENTH CENTURY 


THE NAVAL PARADE 

The British Fleet drawn up in parade formation for review by Her 
Majesty, aboard the steam side-wheeler yacht. Canvas. Signed at the 
lower right. Height, 30 inches; length, 50 inches. 


UNKNOWN ARTIST 


ENGLISH, EARLY NINETEENTH CENTURY 


ADMIRAL NELSON LEAVING PORTSMOUTH 
Directly before the Battle of Trafalgar, with the British Redcoats con- 
trolling the enthusiastic populace. The mayor of the City is accom- 
panying the Admiral. Canvas. Signed F. L. 

Height, 514 feet; width, 81% feet. 


Probably the original oil sketch from which the mural for the Green- 
wich Museum was afterwards executed. 


UNKNOWN ARTIST 


FRENCH, EIGHTEENTH CENTURY 


THE FRENCH MAN-OF-WAR “LION” (THE FIRST) 
The old vessel lying at a wharf. ‘The fine old ornamented high stern 
with the two rampant lions clearly shown. An old French chateau to 
the right. Placid sea with fine cumulus sky. Panel. 

Height, 25 inches; length, 33 inches. 


SIR GODFREY KNELLER 


ENGLISH, EIGHTEENTH CENTURY 


GENERAL HOPKINS os 
Equestrian portrait with the General in cockaded black hat trimmed in 
gilt. Blue coat and red breeches and waistcoat. Mounted on a spirited 
chestnut charger with drawn sword. Canvas. Framed. 

Height, 48 inches; width, 38 inches. 


THOMAS HUDSON 


ENGLISH, EIGHTEENTH CENTURY 


ADMIRAL BENBOW 

Centre, standing, full-length figure in red coat and yellow waistcoat. 
Right hand resting on writing table. Black spaniel to the right. Dis- 
tant view through arched opening of British ship of the line. Canvas. 
Family script on the reverse. Height, 40 inches; width, 30 inches. 


137 


835 CARVED AND GILT OVERMANTEL MIRROR 


ENGLISH, EIGHTEENTH CENTURY 
Three-panel mirror at base in gilt floral moulding, above which is inset 
painted canvas panel by 
THOMAS LUNY 
ENGLISH, 1758-1839 
The Storm at Sea, with several ships endangered by the rocky shore. 
Signed in the lower right corner. 


Height, 52 inches; width, 55 inches. 


A splendid example of this eminent marine artist’s work. 


836 CARVED AND GILT OVERMANTEL MIRROR 


ENGLISH, EIGHTEENTH CENTURY 
Three-panel mirror at base in deep carved frame, with flaring scroll 
carved sides. Upper panel inset painted canvas by 


PETER MONAMEY 


ENGLISH, EIGHTEENTH CENTURY 


English Man-of-War “hove to,” having drawn up to a provision ship. 
In the distance can be seen several ships firing a salute. 


Height, 48 inches; width, 54 inches. 


[SEE ILLUSTRATION | 


837 CARVED AND GILT OVERMANTEL MIRROR 
Gilt moulded frame with flower and ribbon carving. Three panels below, 
above which a canvas by 


J.& F. TUDDAY 


ENGLISH, 1867 


An English Barque. Signed and dated at the lower left. 
Height, 44 inches; width 43 inches. 


138 


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ENGLISH EIGHTEENTH CENTURY CARVED AND GILT 
OVERMANTEL MIRROR WITH INSET PAINTED CANVAS 
BY PETER MONAMEY 


[836] 


SHIP MODELS 
NUMBERS 838-887 


838 MODEL OF A SPANISH GALLEON 


839 


Of silvered metal. Fully rigged with bellied sails. On wire stand. 


Length, 5 inches. 


CHARLES IV’S ROYAL BARGE 
[839] 


CHARLES IVS ROYAL BARGE ENGLISH, 1660 
The Royal Thames River Barge built for Charles II. The original 
designer’s construction model from which the historic ship was ‘built. 
Boxwood, planked and ribbed. High stern magnificently carved with 
the Royal Coat of Arms, gilded, flanked by two male guardians; topped 
by carved replica of ‘Noah’s Ark” and Prince of Wales’ plumes. En- 
closed housing cabin with eighteen glazed windows on either side; on it 
is mounted a series of six carved full figures of sheep, cows and lions. 
High shaped rudder, enriched with painting of a white swan on green 
ground. ‘The forward section arranged with seats for sweepmen and 
accommodation for sixteen sweeps. ‘The bow has full standing carved 
figure of Neptune. The hull is further enriched with stripes in blue and 
vermilion, designed in gilt scrollings and flowers. Enclosed in glazed 
case. Height, 14 inches; length, 45 inches; width, 91% inches. 


Charles II, the “merrie monarch,” returned from his long exile in May, 
1660, landing at white-cliffed Dover on the 26th. His enthusiastic 
reception there and in London is historic. 

He was crowned April 23rd, 1661. Always inclined to be extravagant 
in his personal expenditure, and appreciating the elegance and pomp of 
life, in contrast with the sombre austerity of the Puritans, the mag- 
nificence of the Royal barge appealed to him, the designs were readily 
approved, and after some minor changes the work of construction started 
at once. } 


| SEE ILLUSTRATION | 


140 


840 


841 


842 


8435 


844 


845 


ADMIRALTY YACHT ENGLISH, 1700 
Hull planked in boxwood. Stern carved and gilded with latticed panes 
surmounted by carved eagles, flanking coat of arms. Quarter galleries 
gilded and latticed. Figurehead, bust figure of female. Completely 
rigged in teak and boxwook. Full deck impedimenta. Enclosed in 
glazed case. Height, 29 inches; length, 46 inches; width, 15 inches. 


ENGLISH FRIGATE, 52 GUNS 1770 
Boxwood scale model, coppered to water-line. Mounting 52 bronze 
cannon. Figurehead, full-length figure of Victory. Stern and quarter 
galleries finely carved and latticed. Stern decorated with carving of two 
rampant lions flanking the royal coat of arms. Fully rigged with most 
complete detailed gear. Full deck impedimenta. Enclosed in glass case. 

Height, 15 inches; length, 20 inches; width, 7 inches. 


SLOOP OF WAR, 16 GUNS ENGLISH, 1760 
Hull of bone, mounted on wooden stand. Length, 61% inches. 
BRITISH FRIGATE, 54 GUNS ENGLISH, 1760 


Boxwood scale model in natural wood coloring, completely planked. 
Figurehead, full-length figure of H. M. Queen Charlotte. Latticed stern 
and galleries, both of which are handsomely decorated with mounted 
carvings. Completely rigged in teak and boxwood. Detailed deck 
impedimenta. Enclosed in glazed case. 

Height, 22 wmches; length, 30 inches; width, 14 inches. 


ENGLISH MAN-OF-WAR, 84 GUNS (SECOND RATER) 1770 
Hull of bone, planked. Figurehead, carved figure of warrior. Carved 
stern and quarter galleries. Mounting 84 bronze guns. Masts and 
spars of bone finely rigged, flying the British ensign. Complete deck 
impedimenta. Set in on planked and galleried stand of bone, enclosed 


in oval glass globe case on mahogany base. Length over all, 17 inches. 
MAN-OF-WAR “MARS,” 182 GUNS ENGLISH, 1770 


Boxwood scale model, mounting 132 bronze guns. Figurehead, full- 
length figure of “Mars.” Stern, galleried and balustered, enriched with 
stern lanterns. Quarter galleries carved and latticed. Completely 
rigged in boxwood and teak. Full deck impedimenta. In straw inlaid 
base enclosed in glazed case. 

Height, 20 inches; length, 23 inches; width, 8 inches. 


141 


[846] 


846 MAN-OF-WAR 


Walnut Admiralty construction model. Planked and _ constructed 
throughout. Figurehead in bone representing a classic female figure 
with laurel wreath, flanked on either side by full-length cupids continuing 
in floral spray panels. Stern balustered and galleried with latticed 
panes; enriched with full-length carved and gilt statuettes mounted on 
pedestals. ‘The upper portion in floral spray terminating at centre in 
disk panel. The quarter galleries balustered and with latticed glazed 
windows. Deck with open hatches covered with perforated tops, which 
when raised discloses the entire construction. Enclosed in case. 

Height, 34 inches; length, 91 inches; width, 27 inches. 

[SEE ILLUSTRATIONS | 


142 


DUTCH MAN-OF-WAR, 1740 
[846] 


847 


ee ae 


848 


ENGLISH MAN-OF-WAR, 72 GUNS 1770 
Hull of bone, mounting 72 bronze guns. Carved, decorated and gal- 
leried stern with richly embellished quarter galleries. Figurehead, full- 
length figure of a Lion. Completely rigged with masts and spars of 
bone. Set on straw inlaid base enclosed in glazed case with mirrored 
back. Height, 114% inches; length, 914 inches; width, & inches. 


[848] 


BRITISH MAN-OF-WAR “ISIS” 1774 
Walnut scale Admiralty construction model. Completely planked and 
rigged. Gun port stripe in biack, the balance in natural wood coloring. 
Arranged to accommodate 54 guns and classed as a “second rater.” 
Figurehead, carved three-quarter length figure in gilt of the Egyptian 
goddess Isis. Stern and galleries treated in gilt bandings with latticed 
panes. Deck fitted with hatches. Enclosed in the original walnut and 
glazed case. Height, 23 inches; length, 55 inches; width, 15 inches. 


The original dock yard model of the famous ship. H. M. 8S. “Isis” was 
launched in 1774 on the River Medway, 1051 tons displacement. She 
carried a crew of 343 men; length 146 feet, beam 41 feet; 15 foot 
draught. From 1776-80 she took an active part in the American Revo- 
lution. She was chased and brought into action on Aug. 16th, 1778, by 
the French “César,” a ‘74. The latter cleared for action on one side 
only and seeing this the “Isis” sailed around to the other side and fired 
several broadsides. ‘The larger ship was so badly damaged that she was 
glad to escape with the loss of 50 killed and wounded. In 1801 the 
“Isis” took part in the action against Copenhagen in the fleet under 
Nelson. She was broken up at Deptford in 1810. 
[SEE ILLUSTRATION | 


144 


849 


850 


851 


852 


BRITISH MAN-OF-WAR, 84 GUNS 1775 
Hull planked in bone. Figurehead, full-length finely carved figure of a 
warrior with spear and shield. Stern and galleries carved and balus- 
tered. Fully rigged with masts and spars of bone. Complete deck 
impedimenta. Set on planked and inlaid stand enclosed by rail. In 
mahogany glazed case. 

Height, 20 inches; length, 28 inches; width, 18 inches. 


[850] 


THE TWELVE GUN BRIG “RECKLESS” ENGLISH, 1776 
“A twelve gun Brig on slip to launch, by H. Horn, Modeller and 
Draughtsman. Scale 14 inch to a foot. Proposed name ‘Reckless.’ ” 
Boxwood Admiralty scale dock yard model, completely planked and 
rigged. Painted black above the water-line. Figurehead, carved bust 
of a seaman with old round hat, mounted on scroll with design in color. 
Stern decorated with gilt. Deck fittings complete with hatches, windlass 
and wheel. Set in miniature ways enclosed in dockyard. 
A very fine piece of craftsmanship artfully displayed and an excellent 
example of the intricate detail supplementing the construction of the 
early British Navy. Enclosed in original case. 

Height, 19 inches; length, 49 inches; width, 11 inches. 

[SEE ILLUSTRATION | 


ENGLISH MAN-OF-WAR, 70 GUNS 1780 
Hull of bone. Carved and decorated figurehead, winged Victory. 
Carved stern piece and quarter galleries. On planked bone stand with 


pierced gallery and scalloped stand. Length, 61% inches. 
MAN-OF-WAR, 94 GUNS ENGLISH, 1780 


Boxwood hull mounting 94 bronze cannon. Figurehead, representing 
figure of a warrior. Finely fashioned and balustered stern with carved 


galleries. Completely rigged. Set in straw inlaid case. 
Length, 7 inches. 


145 


ENGLISH FRIGATE “ARETHUSA” 
[853] 


B53. ENGLISH FRIGATE “ARETHUSA,” 44 GUNS 1780 


Constructed, scale model. Hull planked. White to water-line, black 
above, with buff color gun port stripe. Figurehead, carved and gilt 
figure of “Sea Nymph.” Stern and galleries decorated and gilded with 
glazed and latticed panes. Completely rigged with all standing and 
running gear. Length, ‘75 inches. 


This model was formerly part of the well-known Oatway Collection. It 
is a very fine example of the builder’s dockyard model in its original con- 
dition, with the exception of some of the rigging, which has had some 
repairs. The “Arethusa” is the type of British frigate which was 
largely active against the United States in the war of 1812. 

[SEE ILLUSTRATION | 


146 


854 


855 


856 


857 


8574 


858 


MAN-OF-WAR, 60 GUNS FRENCH, 1780 
Hull gilt to water-line, black above, with white gun port stripe, mounting 
60 cannon. Figurehead, bust of woman in gilt and polychrome. Com- 
pletely rigged. In fine state of preservation. Length, 42 inches. 


ENGLISH MAN-OF-WAR, 90 GUNS 1780 
Hull of bone. Carved and decorated stern and quarter galleries. Fig- 
urehead, full-length figure of an Admiral, in colored uniform. Com- 
pletely rigged with masts and spars of bone. Full deck impedimenta. 
Set in straw inlaid box enclosed in hexagonal case. Length, 714 inches. 


An exceptionally fine full-rigged bone model of this size. 


BRITISH MAN-OF-WAR “GLADIATOR,” 80 GUNS 1782 
Hull copper-covered, mounting 80 bronze guns. Figurehead, full-length 
figure of a Roman Gladiator, holding a shield on left arm. Stern is 
richly carved and balustered, with gallery and latticed panes. Quarter 
galleries carved and latticed. Completely rigged in the finest manner 
of the period. Full deck impedimenta. Set on old decorated stand, 
enclosed in black ebony case. 

| Height, 12 inches; length, 16 inches; width, 8 inches. 


ENGLISH NAVAL CUTTER , 1785 
Boxwood construction model of an armed cutter, fitted to carry 10 guns. 
Completely planked and ribbed. Deck open to show construction. 
Eight small ports for sweeps. Fitted for one mast. In glass case. 
Height, 7 inches; length, 18 inches; width, 64% inches. 


ENGLISH MAN-OF-WAR 1785 
Constructed hull of wood, bronzed to water-line. Black and buff gun 
port stripes, mounting fifty cannon. Stern latticed and glazed and deco- 
rated in color with Cupidon on either’ side flanking centre medallion of 
Prince of Wales’ plumes. Figurehead, carved full-length figure of Eng- 
lish seaman. Complete deck impedimenta. Fully rigged, with pine masts 
and spars. Set in oak stand. Length over all, 52 inches. 


ENGLISH MAN-OF-WAR, 88 GUNS 1790 
Boxwood model. Hull covered with copper sheeting to water-line. 
Mounting 88 bronze cannon. Figurehead, carved three-quarter length 
figure of “Neptune.” Carved balustered and decorated stern with lat- 
ticed quarter galleries. Completely rigged to the minutest detail. 
Complete impedimenta, including anchors, cutters, windlass, etc. En- 
closed in original metal inlaid mahogany case. 


Height, 1714 inches; length, 20 inches; width, 71 inches. 
147 


[859] 


859 ENGLISH FRIGATE “TIGRESS,” 56 GUNS 1784 
Boxwood Admiralty construction model. Built to scale for dockyard 
use. Completely planked and ribbed. Both sides of under hull open 
to show construction. Exquisitely carved figurehead, full-length female 
figure, clothed in draped gown, resting on carved gilt leaf scroll. The 
stern glazed and latticed, enriched with gilded brackets and stellated 
motives topped by leaf scroll painted decoration, flanking coat of arms 
of Sir Robert Rowlinson, chief of the Admiralty. Deck equipped with 
latticed hatch covers, windlass, double ivory wheel, and with portion 
open to show cross-sections of construction. Enclosed in glazed case. 

Height, 19 inches; length, 60 inches; width, 20 inches. 


The “Tigress” was built at Plymouth in 1784. She carried 56 guns, 
and was considered by naval authorities the finest of the swift frigate 
type of fighting craft. Little history is available of her achievements 
except that she was sighted off the West Indies in 1813, but did not 
take part in any action. 

[SEE ILLUSTRATION | 


148 


ie 


[860] 


860 MAN-OF-WAR “WARRIOR,” 120 GUNS ENGLISH, 1790 


Boxwood scale model. Hull planked, mounting 120 bronze guns. Fig- 
urehead, full-length carved figure of warrior decorated in colors. Stern 
balustered and galleried with latticed panes, enriched with winged 
cupidons flanking coat of arms. Quarter galleries, carved and latticed. 
Finely rigged in teak and boxwood, with every attention given to the 
smallest detail. Complete deck impedimenta. Enclosed in original 
mahogany case. ! 

Height, 2014 inches; length, 26 inches; width, 10 inches. 

[SEE ILLUSTRATION | 


149 


861 


862 


863 


864 


865 


866 


MAN-OF-WAR “LE MAJESTUEUX,” 130 GUNS FRENCH, 1790 
Hull of bone, planked; mounting 1380 bronze guns in bone blocks. Fig- 
urehead, carved full-length figure of a warrior, decorated in colors. 
Stern and quarter galleries balustered and carved. Fully rigged with 
bone masts and spars. Full deck impedimenta. 

A most complete and intricate model. Enclosed in glazed case. 


Length, 277 inches. 


ENGLISH MAN-OF-WAR, 100 GUNS 1790 
Hull of bone, planked, mounting 100 bronze guns. Figurehead, carved 
figure of warrior, decorated in color. Balustered and latticed stern. 
Completely rigged with masts and spars of bone. Full deck impedi- 
menta. On inlaid mahogany stand, enclosed in glass globe case. 


Length, 14 inches. 


ENGLISH MAN-OF-WAR, 62 GUNS 1795 

Hull red to water-line, black above with tan gun port stripe. Galleried 

stern. Completely rigged with furled sails. Deck impedimenta. 
Length, 53 inches. 


ENGLISH FRIGATE, 22 GUNS 1800 
Hull planked and ribbed; black with white gun port stripe. Figure- 
head, full-length draped female figure. Carved, decorated and gilt stern 
and quarter galleries. Completely rigged and with full deck impedi- 
menta. Length, 60 inches. 


MAN-OF-WAR, 90 GUNS ENGLISH, 1800 
Hull in bone, completely planked. Balustered and carved stern and 
quarter galleries. Figurehead, full-length female figure. Deck impedi- 
menta. Set on bronze stand of four dolphins. Enclosed in glazed case. 

Height, 414 inches; length, 10 inches; width, 5 inches. 


BRITISH EAST INDIAMAN, 44 GUNS 1800 
Boxwood dockyard model; planked and ribbed. Painted green to water- 
line, black above, with buff-colored gun port stripes. The inside 
trimmed in vermilion. Figurehead, carved bust figure representing 
“Britannia.” Finely fashioned stern, latticed with 6 glazed panes above 
a row of 8 glazed panes below. Quarter galleries glazed with 6 latticed 
panes. Full deck impedimenta. Length, 46 inches. 


This model represents the type of vessel which brought the treasures of 
the East to Europe, a century and a half ago. ‘These vessels were 
armed as heavily as a frigate, in order to resist the attacks of pirates 
in the Indian Ocean. 


150 


867 


868 


869 


870 


871 


871A 


872 


873 


ENGLISH FRIGATE, 48 GUNS 1810 
Hull planked in bone. Stern and quarter galleries carved and latticed. 
Fully rigged with bone masts and spars. Complete deck impedimenta. 
Set on carved bone stand enclosed in original Sheraton mahogany case. 

Height, 12 inches; length, 121% inches; width, 6 ches. 


ENGLISH FRIGATE, 48 GUNS 1820 
Hull in red and black with white gun port stripe. Figurehead, head of 
cupidon. Fully rigged, with complete deck impedimenta. Stern deco- 
rated and gilded. Length, 60 inches. 


ENGLISH MERCHANTMAN 1820 
Construction model of an English Merchantman. Hull in boxwood. 
Planked in broad planks. Stern glazed and latticed. Deck with rail. 
Skylights, windlass and other deck impedimenta. Length, ‘75 inches. 


ENGLISH FRIGATE 1820 
Curiously made model with mahogany hull, which has a white gun port 
stripe. Completely rigged with sails set. Enclosed in original glass 
case. Height, 11 inches; length, 9 inches; width, 5 inches. 


ENGLISH FRIGATE, 52 GUNS ENGLISH, 1820 
Hull bronzed to water-line, black above. Figurehead, bust figure of 
female. Carved and latticed stern. Finely rigged. In mahogany case. 

Height, 20 inches; length, 26 imches ; width, 10 inches. 


FRENCH FRIGATE, 40 GUNS 1820 
Black hull to water-line, with gun port stripe above. Decorated stern 
and quarter galleries. Figurehead, carved gilt bust of French naval 
officer. Completely rigged. Set in cradle stand. Length, 18 inches. 


EAST INDIAMAN ENGLISH, 1825 
Hull terra cotta color to water-line, black above, with white gun port 
stripes. Stern and galleries carved and decorated. Scroll figurehead. 
Completely rigged, and full deck equipment. Length, 31 inches. 


ENGLISH BRIG 1830 
Hull black, with white gun port stripes. Figurehead, carved full-length 
figure of British seaman with the old round hat in one hand and British 
ensign in the other. Deck and fittings in mahogany. Fully rigged in 
detail of mahogany. Set in plaque of miniature waves. Enclosed in 
original mahogany case. 

Height, 13 inches; length, 18 inches; width, 91% inches. 


151 


8734 ENGLISH ROYAL NAVAL YACHT “WATERWITCH” 1830 


874 


875 


879 


Constructed hull coppered with sheeting to water-line; planked with ma- 
hogany above, with black porthole stripe; carved stern and quarter- 
galleries. The stern with gilt carved British coat of arms; figurehead, 
bust figure of English warrior. Deck planked in boxwood, mounting six 
“Long Toms”; complete deck impedimenta. Brig fully rigged, masts 
and spars of mahogany. Set in cradled stand enclosed in mahogany 
glazed case on table base. 

Case, height, 43 inches; length, 55 inches; width, 21 inches. 


The ‘‘Waterwitch” proved to be such a fast vessel that she was pur- 
chased by the English navy and used on the West coast of Africa against 
the Slavers. 


CHALOUPE DE PECHE “LA FAVORITE” FRENCH, 1830 
Constructed model. Hull in walnut, planked and ribbed, figurehead in 
scroll and leaf design. Stern and galleries carved and glazed. 

Length, 34 inches. 


BRIG ENGLISH, 1840 
Finely fashioned hull of mahogany. Deck planked, having companion 
hatches. Set in glazed case. 


Height, 714 inches; length, 24 inches; width, 7Y, inches. 


AMERICAN BRIGANTINE 1840 
Hull gilt to water-line, black above. Trimmed in green inside deck. 
Figurehead, in scroll. Rounded stern. Completely rigged. Masts and 
spars of pine. Set in cradle. Length, 39 inches. 


AMERICAN BRIG 1840 
Walnut planked and constructed model. Fully rigged with masts and 
spars of walnut. Complete deck impedimenta. Set in cradle. 


Length, 46 inches. 


AMERICAN PACKET SHIP “UNITED STATES” 1845 
Hull black with white and brown stripe above. Inside rail decorated in 
green. Figurehead, in form of winged scroll. Shaped stern, enriched 
in gilt and green with name “United States.” Completely rigged ; masts 
and spars of pine. Full deck impedimenta. Set on oblong base. 

Length, 52 inches. 
A fine specimen of the American Seaman’s workmanship. The “United 
States” was one of the famous New York ships, built for the Robert 
Kermit Line of Liverpool Packets. The line operated for only two or 
three years and carried chiefly cotton for the trade. 


FULL RIGGED SHIP putcH, 1850 
Hull in walnut. Completely rigged and full deck impedimenta. 
Length, 17 inches. 


152 


880 


881 


882 


883 


884 


- 885 


886 


887 


AMERICAN BRIGANTINE 1850 
Hull black. Im full sail, the latter of metal, painted white. Complete 
rigging and full deck impedimenta. Set in cradle. Length, 21 inches. 


AMERICAN CLIPPER BARK “JANE ADAMS” Pel So2 
Hull in black. Masts and spars of bone. ‘Two bronze guns mounted. 
Figurehead of bone of full-length female figure. Full deck impedimenta. 
Completely rigged. Fine clean cut lines. Length, 22 inches. 


ENGLISH CLIPPER SHIP “STAR OF HOPE” 1860 
Hull in walnut, planked. Green to water-line, natural wood color above. 
Completely rigged, spars and masts of walnut. Full deck impedimenta. 
Set in ways. Enclosed in glazed case. 

Height, 34 inches; length, 51 inches; width, 22 inches. 


AMERICAN CLIPPER SHIP “FLYING EAGLE” 1860. 
Hull black with red stripe. Figurehead, carved spread eagle. Rounded 
stern. Fully and completely rigged. Set in cradle. 

Length, 17 inches. 


CLIPPER SHIP “MARGARETHA” ENGLISH, 1862 
Hull gilded to water-line, black above. Shaped stern with name plate. 
Completely rigged, masts and spars of walnut. Full deck impedimenta. 
Set on oblong base. Length, 26 inches. 


MODEL OF STEAM YACHT 
Hull red with black and white above. Two masts rigged for auxiliary 
sails. Set in plaque of miniature waves; enclosed in glass case. 


Height, 18 inches; length, 24 inches. 


TOMAS GAVDIELLO 


ITALIAN, 1727 


ITALIAN HARBOR SCENE 

Many completely rigged miniature ships in the harbor, which is pro- 
tected by breakwater and forts. On the shores and amid the hills are 
houses and castles. A carved panel, the objects in the foreground com- 
plete and the balance in relief. Signed in lower centre. Enclosed in 
black and gold glazed case. Height, 30 inches; length, 36 inches. 


TOMAS GAVDIELLO 


ITALIAN, 1727 


ITALIAN HARBOR SCENE 
Similar to the preceding. 


1538 


888 


889 


890 


891 


892 


893 


894 


SHIP BELLS, NAVAL CANNON AND MARINE RELICS 
NUMBERS 888-896 


TWO EARLY EIGHTEENTH CENTURY ENGLISH SHIP’S 
LANTERNS OF THE PERIOD OF GEORGE II 

From the flagship “King Harold.” 

Attenuated tapering bodies of finely gilded bronze, the centre formed of 
five glazed panels of which one is hinged as a door surrounded by chased 
rocaille scrolls. Tiasselled domed bottom and cover engraved with 
acanthus husks and beads, and enriched with winged amorini heads and 
finials of upstanding figures of mediaeval knights in armor. 

These lanterns, from one of Britain’s magnificent men-of-war of pre- 
revolutionary days, are in a fine state of preservation. (2) 


BRONZE SHIP BELL ENGLISH, 1744 
Of fine bronze bell metal with iron tongue. Inscribed 1744, and with 
banding of conventional scroll design. Height, 13 inches. 
BRONZE SHIP BELL ENGLISH, EIGHTEENTH CENTURY 


Of fine old bronze bell metal with iron tongue. Raised arrow-head on 
side, indicating that it was once the property of the British Navy. 
Height, 14 inches. 


TWO BRONZE NAVAL CANNON ENGLISH, EIGHTEENTH CENTURY 
Mounted and set in on mahogany stands. Lashed down by two brass 
hinged straps. (2) Length, 17 inches. 


MODEL OF A CANNON ENGLISH, EARLY NINETEENTH CENTURY 
Cannon of bronze mounted on bone wheels and shaft bound in brass. 
Gun carriage and ammunition train constructed similarly. (2) 


Length, 6 and 71% inches. 


MODEL OF AN OLD FRENCH NAVAL CANNON 
Of bronze, richly embossed, set on three-wheeled truck with a mound of 
four cannon balls. Set on black onyx stand. Length, 12 inches. 


TWO NAVAL CANNON 


Old iron naval cannon mounted in original oak trucks with heavy block 
rings. Marked B. P. & Co. 3-2-24 (1824). (2) 


Length, 3 feet 8 inches. 
154 


895 


896 


896A 


896B 


896c 


896pD 


CELESTIAL AND TERRESTRIAL GLOBES EARLY ENGLISH 
Globe supported in a brass ring. Set in carved mahogany Sheraton 
frame on three tapering legs with spade feet with brass castors. The 
globes by W. & T. M. Bardin, London. Height, 45 inches. 


MAHOGANY COMPASS TABLE ENGLISH, EIGHTEENTH CENTURY 
Square top with compass inset in copper plaque which has at opposite 
corner a sundial. Inscribed: Made for Henry Savage by Edward Low, 
1763. Supported on carved pedestal on tripod stand. 

Height, 30 inches. 


AMERICAN SCRIMSHAW WORK 

Wuatine ScENE 

Very finely worked on a large plaque of white whale-bone, depicting a 
whaler with the long boats in action and the whale “struck.” The pic- 
ture framed in floral spray design. Height, 8 inches; length, 18 inches. 


AMERICAN SCRIMSHAW WORK 
Whale’s tooth finely worked with the picture of the “Constitution” on 
both sides, the one flying the American flag worked in colors. 

Length, 7 inches. 


TWO BRISTOL GLASS GOBLETS ~ ENGLISH, EIGHTEENTH CENTURY 
Flaring cup on moulded standard with square base; one side cut with 
Sunderland Bridge, with a brig in full sail passing beneath: the reverse 
bears a vase, flowers and sprigs. (2) 


EIGHTEENTH CENTURY DUTCH PAINTED ROOM 

Composed of five panels. 

(a) Fisherman leaving port. Brown-sailed schooner passing green pro- 

montory which is crowned by a windmill. Beyond are three schooners 

at full sail, with fisherman. The sailors in costumes. A man-of-war 

and the outlines of a great city are in the background. 

(b) Dutch frigate, ‘“Castrigom,” at anchor, her bow shaped like the 

facade of a stately Renaissance house at The Hague, painted green and 

white and heightened with gold. She is: fully rigged and flies the flag of 

the Netherlands. 

At her sides are fully rigged barkentines, and beneath in the blue-green 

waters can be seen small rowboats and lifebuoys. 

(c, d) Two peaceful landscapes with canals and villages, enlivened by 

small brightly colored figures. 

(e) Upright panel painted with the design of an urn in grisaille of white 

marble and filled with a bouquet of naturalistically colored field flowers, 

and enriched with a single motif of a butterfly. 

Size of the panels, 6 feet 4 inches x 2 feet 11 inches. 

6 feet 4 wmches x 8 feet 3 winches. 
6 feet 4 inches x 8 feet 3 winches. 
6 feet 6 inches x 8 feet 4 inches. 
6 feet 6 imches x 8 feet 4 iches. 


155 


896k SIXTEENTH CENTURY PORTUGUESE EMBROIDERED SILK 
TAPESTRY: “THE RETURN OF FERNAO MENDEZ PINTO 
TO LISBON AFTER HIS ADVENTURES AND VOYAGES” 

The centre is occupied by the outline of a royal barge, with the figure 


of Fernao Mendez Pinto seated on a throne chair and surrounded by a 
host of rowing coolies. The tall masts with lower sails are beflagged with 
penants of orange, red and gold, with the emblem of the Crescent. At the 
stern and bow two bewigged Orientals are seated, one playing on a flute 
and the other smoking a pipe. To the right, the bay, with rowboats and 
fish and a round towered fortress from which a soldier, with feathered 
hat, can be seen discharging a cannon. To the left, a turreted castle 
upon an island, and beneath, a fortified tower from which two guns 
are being discharged by a soldier in sixteenth century costume. Be- 
neath the fortress appears a fisherman seated on richly flowered ground, 
which extends beneath the centre motif with cranes flanking upstanding 
multicolored flower bushes. The upper fore- and background is com- 
posed of feudal castles with trees and deer, and blue mountains beyond. 
In the sky are birds of prey in flight, and conventionalized clouds. 
The tapestry is worked in punto floscio, in richly colored silks on a cream 
ground, with superb scalloped borders of floral arabesques on a canary- 
yellow ground. 
This tapestry of extraordinary importance was on exhibition at the 
South Kensington Museum and appears for the first time at public sale. 

Size, 7 feet 8 inches x 14 feet 5 mches. 
Fernao Mendez Pinto, the famous adventurer and voyager, was the first 
white man to visit Japan. He returned to Lisbon in 1558, and was in- 
vited to reside at the Court. He died in 1583. 

[SEE ILLUSTRATION | 


156 


897 


898 


899 


900 


901 


OLD ENGLISH SPORTING PRINTS AND PAINTINGS 
NUMBERS 897-909 


UNKNOWN ARTIST 


ENGLISH, EARLY NINETEENTH CENTURY 


JOCKEY MOUNTED ON CHESTNUT HORSE 
The Jockey in dark brown coat, white breeches and red cap, on the field, 
with paddocks to the left. Canvas. 

Height, 23 inches; width, 30 inches. 


H. HALL 


ENGLISH, 1878 


A BROWN GELDING 
Expressing a vicious attitude toward the stable boy, who is trying to 
brush him down. Canvas. Tramed. 


Height, 30 inches; width, 36 inches. 


H. HALL 


ENGLIsH, 1878 


A THOROUGHBRED 
Black Horse in Stable, having just had exercise. Trainer in attendance 
portrayed at the left. Canvas. Signed and dated. Framed. 

Height, 30 inches; width, 36 inches. 


JAMES SMART 


ENGLISH, EIGHTEENTH CENTURY 


A GRAY RIDER 
Held by attendant in long black coat with tall hat. Distant landscape 
of rolling fields. Canvas. Framed. 

7 Height, 30 inches; width, 36 inches. 


FRANCIS SARTORIUS 


ENGLISH, 1803 


A HUNTER 
Chestnut horse in stockade with rolling green. Stable building at the 
right. Clouded sky. Canvas. Signed and dated. Framed. 

Height, 25 inches; width, 30 inches. 


157 


902 


903 


904 


905 


906 


907 


CHARLES HERRING 


ENGLISH, NINETEENTH CENTURY 


“SONGSTRESS” 
The property of Mr. J. Scott, winner of the Oaks, 1852. Canvas. 
Height, 14 inches ; width, 18 inches. 


Framed. 
ROBERT EDGAR 


ENGLISH, 1812 


A CLOSE RACE 
The horses are nearing the finish, with both jockeys forcing them. 


Canvas. Signed R. E. and dated 1812. Framed. 
Height, 614 inches; width, 10 inches. 


UNKNOWN ARTIST 


ENGLISH, NINETEENTH CENTURY 


“TRISH BIRDCATCHER” 
Owned by Daniel O’Rourke, winner of the Derby, 1852. Canvas. 
Framed. Height, 14 inches; width, 18 inches. 


JAMES SEYMOUR 


ENGLISH, EIGHTEENTH CENTURY 


THE RACE 
Two galloping steeds. One jockey wears a blue coat, and the other a 
lavender. Canvas. Height, 28 inches; width, 36 inches. 


OLD ENGLISH SPORTING PRINT 

Younc, Driver. ) 

Two lines of the history of Young the Jockey from 1762 to 1763. ‘T. 
Burford, delin. et fecit: Mezzotint. Published, London, 1765. Folio. 
Framed. 


OLD FRENCH SPORTING PRINTS 

Les Jocxreys Monrés. 

La Course. 

L’ARIVEE DE LA Course. 

Les Apprits p’uNE Course. 

C. Vernet, del. Engraved and in color by Darcis. Small folios. 
Framed. (4) 


158 


908 


909 


OLD FRENCH SPORTING PRINTS 

Les Jockeys au Monrer. 

Le Cueva BoucHonne£. 

C. Vernet, del. Engraved and in color by Darcis. Small folios. 
Framed. (2) 


MODEL OF A SPANISH TRAVELLING COACH 

EIGHTEENTH CENTURY 
Folding leather top. Body in black with vermilion and orange decora- 
tion. Wheels ironbound with oak spokes, painted red. Designated as 
“No. 1—Madria—Puerto Real.” Height, 16 inches; length, 20 inches. 


159 


SALE FRIDAY AFTERNOON, FEBRUARY SECOND, AT 2:30 


SEVENTH SESSION 
NUMBERS 910-1054 


ENGLISH, FRENCH AND ITALIAN FURNITURE 


PAINTED WAINSCOT ROOMS AND IMPORTANT TAPESTRIES 


910 


91d 


912 


913 


914 


915 


916 


EARLY NINETEENTH CENTURY ENGLISH BRASS FENDER 


Open wirework and scroll design, standing on three claw feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TEA TABLE 
Circular top, carved edge; fluted columnar support on carved tripod 
base. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BANNER 
SCREEN 

Chippendale period. Banner worked in a floral and filigree design in 

paper. Dated 1781. On carved tripod stand. 


TWO NINETEENTH CENTURY ENGLISH MAHOGANY TER- 
RESTRIAL AND CELESTIAL WORLD GLOBES 
Turned columnar support connecting legs carved in a scroll design. By 


Thomas Malbey & Son. Dated 1853. (2) 


EARLY NINETEENTH CENTURY ENGLISH BRASS FENDER 
Of a massive openwork ball and scroll design, and standing on three 
scroll feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TIP-TOP 
TABLE 

Chippendale period. Shaped tray top on turned column supported by 

three shaped legs carved at the knees. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING 
CHAIR 

Chippendale period.. Cabriole legs carved at the knees, termimating in 

ball and claw feet; upholstered and covered in a floral silk damask ; loose 


cushion seat. 


161 


oly 


918 


SANS, 


920 


921 


922 


923 


9234 


EIGHTEENTH CENTURY ENGLISH PAINTED CARD TABLE 
Adam period. Semi-circular hinged top decorated in the centre with 
fruit and flowers; border with conventionalized feathers. Plain panels, 


inlaid rosetted dies, on square tapering legs. 


EARLY NINETEENTH CENTURY ENGLISH BRASS FENDER 
Of an openwork and bead design; standing on three ball feet. 


TWO EARLY NINETEENTH CENTURY ENGLISH TERRES- 
TRIAL AND CELESTIAL WORLD GLOBES 

Stands composed of turned columns supported by scroll-shaped legs 

holding compass. By Newton, Chancery Lane, London, England. (2) 


TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WINDOW SEATS 

Adam period. Scroll ends; shaped moulded front, sides and backs; on 

four turned fluted tapering legs; upholstered and covered in a gold silk 


damask. (2) 


TWO EIGHTEENTH CENTURY ENGLISH BANNER SCREENS 
Oval banners representing Boy and Girl. Walnut stands. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDEBOARD 
Sheraton period. Shaped top with edges inlaid in bands of satinwood. 
Front fitted in the centre with one long drawer inlaid in manner similar 
to that of the top; on the left is a cupboard enclosed by a convex door 
with an oval panel in the centre; on the right is one deep drawer, the 
interior of which is fitted with original lead liners. Drawers. with 
original brass drop handles; plain sides; fluted stiles and dies; on square 
tapered and fluted legs; spandrels composed of leaves inlaid in various 
woods. 


SET OF OLD ENGLISH GLAZED CHINTZ CURTAINS 
Composed of four curtains and two valances covered with a decoration 
of bouquets of flowers, in bright colors on a white ground. (6) 


SIXTEENTH CENTURY FRENCH NEEDLEWORK PICTURE 
DEPICTING THE NATIVITY 

With the figure of the Holy Virgin stretched towards the crib with the 

infant Lord. The left foreground and background are filled with figures 

of winged seraphim and saints. Worked in blues, golden tans, greens in 

gros point, with the faces painted on a petit point ground. 


162 


924 


925 


926 


927 


928 


929 


930 


KIGHTEENTH CENTURY ENGLISH MAHOGANY EXTENSION 
DINING TABLE 

Sheraton period. Plain top with moulded and leaf-carved edge; sides 

inlaid in satinwood; on square tapering legs. 


SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY 
SIDE CHAIRS 

Hepplewhite period. Shield-shaped backs with centre in the form of an 

urn draped; leaf carved slats; tapered legs connected by understretcher. 


(6) 


EIGHTEENTH CENTURY ENGLISH MARBLE MANTELPIECE 
Adam period. 


EIGHTEENTH CENTURY ENGLISH CARVED AND PAINTED 
WOOD MANTEL MIRROR 

Adam period. Centre composed of a convex mirror surrounded by leaf- 
carved border. Each panel with oblong mirror plate with fluted pilas- 
ters and headed by richly carved capitol enrichments on each side, and 
surmounted in the centre by a carved and gilt panel representing danc- 
ing female figures; on either side are festoons and musical instruments. 
Moulded cornice. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SETTEE 
Adam period. Square back; curved arms on scroll-shaped supports; 
rosetted dies; on square tapered legs. Seat and back upholstered and 
covered in red velvet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE 
Chippendale period. Top part composed of cabinet enclosed by two 
glass doors, surmounted by shaped cornice carved in the centre with a 
fleur-de-lys which is held by scrolls. Lower part fitted with two drawers 
with original brass handles and escutcheon plates, below which are two 
panelled doors with carved rosettes in the corners; on moulded base sup- 
ported by block feet. Lower part with carved edge and fitted with two 
drawers. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE 
Chippendale period. Top part composed of cabinet enclosed by two 
glass doors, surmounted by shaped cornice carved in the centre with a 
fleur-de-lys which is held by scrolls. Lower part fitted with two drawers 
with original brass handles and escutcheon plates, below which are two 
panelled doors with carved rosettes in the corners; on moulded base 
supported by block feet. Lower part with carved edge fitted with two 
drawers. 


163 


931 


932 


933 


934 


935 


936 


937 


EIGHTEENTH CENTURY ENGLISH FIVE-FOLD PAINTED 


LEATHER SCREEN 
Decorated with a design of leaves and flowers on a gold ground. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE 
Chippendale period. Plain mahogany top with carved edge fitted with 
one drawer; supported by four square tapering legs connected by two 
carved spandrels. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE 
TABLE 

Chippendale period. Plain mahogany top, carved edge; fitted with one 

drawer; two original brass handles. ‘Two plain cabriole pull-out legs 

forming centre table, two front legs carved on the knees and terminating 

in carved club feet. 


TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD MIRRORS 

Adam period. Oblong mirror plate flanked by fluted columns with leaf- 

carved capitols. Surmounted by an eglomisé panel decorated in the 

centre with a castle and surrounded by trellis pattern. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER 
CUPBOARD 

Top part formed as a cupboard enclosed by two panelled doors inlaid 

in the centre with an oval medallion of flowers and surrounded by inlays 

in geometrical manner ; cornice inlaid in flowers and fruits. Lower part, 

with tambour front, also forms a cupboard; supported by block feet. 


EKIGHTEENTH CENTURY ENGLISH COMMODE 
Sheraton period. Top inlaid with band of kingwood; fitted with two 
drawers with original brass handles, and with two doors below enclosing 


cupboard. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY LIBRARY 
TABLE 


Chippendale period. Circular top with carved leaf border; fitted with 
eight drawers with original brass drop handles; original green leather : 
top. On a square base fitted with panelled door enclosing a cupboard. 


164 


938 


Lo 


939 


a 


6 0 


941 


942 


‘ge 


943 


< 


944 


a ad 


945 


Spa 


EIGHTEENTH CENTURY ENGLISH MAHOGANY PEDESTAL 
WRITING DESK 

Chippendale period. Oblong top with moulded edge carved in a flower 
and scroll pattern; covered in black leather, fitted with lift reading 
stand and three drawers, one large and two smaller. Pedestals fitted, 
on the one side with three drawers and on the other with a door in the 
form of three dummy drawers enclosing cupboard. On moulded base 
with carved edge. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING 
CHAIR 

Chippendale period. Cabriole legs, carved at the knees; ball and claw 

feet. Upholstered and covered in red silk; loose cushion seat. 


TWO OLD ENGLISH CARVED AND GILT WOOD TEA TABLES 
Pie-crust tops, supported by tripod stands; with eagles’ heads on three 
carved scroll feet. (2) 


EIGHTEENTH CENTURY MAHOGANY TRIPOD TABLE 
Chippendale period. Shaped top, moulded and carved in the centre in 
a leaf pattern. Columnar support standing on three carved legs termi- 
nating in ball and claw feet. 


EIGHTEENTH CENTURY ENGLISH GAMING TABLE 
Sheraton period. ‘Top inlaid with bands of satinwood, with ebony and 
maple inlays forming a chess board. Lift-up top forming a card table 
covered in green leather. On four square tapered legs. 


EARLY NINETEENTH CENTURY ENGLISH MIRROR 

Empire period. Oblong upright mirror plate with painted and gilt 
frame; gilt Corinthian columnar sides; surmounted by mask-heads and 
scroll carvings; fluted bases. 7 


SEVENTEENTH CENTURY FLEMISH OAK CENTRE TABLE 
Moulded top. Sides carved in a leaf and scroll pattern with mask- 
head carvings in centre; similarly carved dies; supported by four bulbous 
legs carved in a leaf and architectural design, connected by turned 
graduating understretchers, standing. on ball feet above which are lion 
heads carved in relief. 


SEVENTEENTH CENTURY ENGLISH OAK BUFFET 

Each shelf has carved edge in a leaf design, and is supported by bulbous 
carved supports. Aprons beautifully carved with a leaf and flower pat- 
tern. 


165 


946 


947 


949 


950 


952 
Ps . 
lg 
953 
al} 


SEVENTEENTH CENTURY ENGLISH OAK REFECTORY 
TABLE 
Oblong top supported by four turned and tapered columns connected by 


understretchers. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD CORNER 
CABINET 

Sheraton period. Scroll cornice inlaid with rosetted dies; enclosed by 

two convex panelled doors, inlaid with oval medallions of musical trophies, 

surrounded by a border of harewood. Shaped base inlaid with oval me- 


dallion of shell. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD 
TABLE : 
Sheraton period. Plain mahogany top inlaid with band of satinwood; 
apron inlaid in a geometrical manner; on square tapered legs inlaid in a 


reas \ 
similar manner. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD  SIDE- 
BOARD 

Adam period. Upper part composed of shelf surrounded by gilt metal 

gallery and supported by similar columns; lower part with painted panel 

decorated in a leaf and flower design, below which are two panelled doors 


enclosing a cabinet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD 
TABLE 

Chippendale period. Circular top; edge carved in a leaf design; carved 

columnar support terminating in three shaped legs carved at the knees. 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY TEA 
TABLES 

Adam period. Circular tops, beaded edges; on three spindle legs holding 

understretcher supported by three curved and carved feet. (2) 


EIGHTEENTH CENTURY 
TABLE 
Sheraton period. 


ENGLISH MAHOGANY TIP-TOP 


Circular top inlaid with band of satinwood with 
moulded edge carved in a ribbon and flower pattern; on turned column 
supported by three shaped legs inlaid with bands of satinwood. 


KIGHTEENTH CENTURY ENGLISH CONSOLE TABLE 
Adam period. Satinwood top, inlaid in a ribbon and leaf pattern. 
Carved leaf and fluted gilt apron; on four square tapered legs. 


166 


954 


Ce 


955 


“yY~ 


ES 


956 


957 


959 


EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD CONSOLE TABLE 

Adam period. Half-moon shape with mahogany top inlaid in bands of 

satinwood. Apron carved in a leaf design; flowered dies; supported by 

four square tapered legs with rosettes and fleurs-de-lys carved in relief. 


TWO EIGHTEENTH CENTURY CARVED AND GILT WOOD 
WALL MIRRORS 

Adam period. Upper part composed of a rectangular canvas painted 

with a wreath of roses and leaves in many colors; above and below are 

panels of festoons and leaves suspended by bow knots, while on each 


side are scroll-carved panels. Below is a rectangular mirror plate. The 


whole surrounded by a beaded border. (2) 


EIGHTEENTH CENTURY ENGLISH WALNUT WING CHAIR 
Queen Anne period. Legs carved at the knees in a shell design, termi- 
nating in club feet, connected by turned stretcher. Upholstered and 
covered in flowered brocatelle; loose cushion. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY DESK 
Sheraton period. Top part has small cabinet inlaid with bands of 
satinwood at sides and in centre; enclosed by two glass doors; sur- 
mounted by cornice; fitted with five small drawers inlaid with satinwood ; 
with original brass drop handles, below which are two small shutter- 
front compartments. Lower part has lift-up writing pad in the centre 
and is fitted with three large drawers; supported by four square tap- 
ering legs, inlaid with satinwood. 


/EIGHTEENTH CENTURY FRENCH CARVED AND GILT 


WOOD FIRE SCREEN 
Louis Seize period. Shaped frame with ribbon carving at top, sur- 
rounded by bead and scroll carved border, holding glass panel. On 
scroll legs with rosetted dies. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER 


CUPBOARD 
Sheraton period. Upper part forming a cabinet, enclosed by two glass 
doors of a Gothic design and inlaid with bands of satinwood. 'The lower 
part forms a cupboard enclosed by two doors similarly inlaid. Original 


bone escutcheons. 


167 


Noe 


960 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- 
TAIRE-BOOKCASE 

Chippendale period. Upper part composed of cabinet enclosed by two 
glass panelled doors surmounted by a cornice carved in a Gothic and 
leaf pattern. The lower part formed as a drop-front secrétaire fitted 
with small drawers and compartments; below are four long drawers with 
original escutcheon plates and handles. On moulded base carved in a 
beadwork design and supported by four block feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD 
TABLE 

Sheraton period. ‘Triangular lift-up top, inlaid with bands of satin- 

wood; sides inlaid in a similar manner; supported by square tapered 


legs. 


OLD ENGLISH EIGHTEENTH CENTURY FOUR-FOLD 
LEATHER SCREEN 

Representing Chinese figures and pagodas surrounded by sprays of 

flowers painted in various colors on a gold ground. The whole sur- 

rounded by a wide border with an rer vases and flowers on a black ground 

in similar colors. 


Thr {_ Dorrly he tet Jot 


/ 


y 4 9638 TWO EARLY NINETEENTH CENTURY ENGLISH TERRES- 


a a 
A \ jt : 2? 
yr 


965 


TRIAL AND CELESTIAL WORLD GLOBES 
Supported by turned column on three shaped legs. By J. Addison, Lon- 
don, England. (2) 


SMALL EIGHTEENTH CENTURY ENGLISH MAHOGANY 
CHEST ON STAND 

Sheraton period. Chest inlaid with band of satinwood encircling inlaid 

oval medallion representing mermaid and a reptile, surrounded by an in- 

laid leaf and scroll decoration; corner inlaid with rosettes; sides deco- 

rated in a similar manner. Inlaid stand supported by four tapered legs. 


EIGHTEENTH CENTURY ENGLISH LADY’S SATINWOQOD 
WORK AND WRITING TABLE 

Adjustable top covered in original leather below which is a sliding work 

bag of red damask; fitted with one drawer and sliding screen back; on 

four square tapering legs, with mahogany inlay. 


~ 168 


967 


971 


972 


EIGHTEENTH CENTURY ENGLISH CIRCULAR MAHOGANY 
LIBRARY TABLE 

Sheraton period. Border inlaid with bands of satinwood. Original 

green leather top fitted with four drawers and four dummy drawers, 

inlaid with bands of satinwood and fitted with turned wood handles. 


Supported by turned column standing on four shaped legs. 


EIGHTEENTH CENTURY ENGLISH WALNUT WING CHAIR 
Queen Anne period. Legs carved at the knees in a shell design and 
terminating in club feet. Upholstered and covered in flowered broca- 
telle; loose cushion. 


EIGHTEENTH CENTURY 
WRITING DESK 

Queen Anne period. Moulded edge, fitted with one long writing drawer 

with fall-down front, the interior of which is fitted with small drawers and 

Kneehole 

composed of a cupboard enclosed by door; moulded base standing on 

four block feet. 


ENGLISH WALNUT KNEEHOLE 


compartments; below, on each side, are three small drawers. 


EIGHTEENTH CENTURY 
SCREEN 
Adam period. 


ENGLISH MAHOGANY FIRE 
Shaped silkwork panel with a leaf-carved mahogany 


frame surmounted by a scroll and leaf carving; standing on scroll feet. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE 
Sheraton period. Shaped top with a half-circular medallion in the 
centre representing female figures; scroll and shell border; below are 
three cupboards, the centre enclosed by two concave doors, the side 
cupboards each enclosed by a convex door with oval medallions in the 
centre representing classical female figures surrounded by bands of hare- 
wood. On six square tapered legs. : 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WRITING 
TABLE 

Chippendale period. ‘Top covered in old morocco pad and surrounded 

by a band of mahogany; moulded edge carved in a leaf pattern. Apron 

fitted with one long drawer, the interior of which is fitted with writing 

compartments. On fretwork legs carved in a Gothic design, connected 


by spandrels. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY WING 
CHAIR 


Chippendale period. Square legs, carved in a floral design; upholstered 
and covered in a red damask; loose slip cushion. 


169 


973 
4) mn 
J. 
O74 
: 
975 
0 
-976 
or 
a . 
l; t 
C 
¥ 


EIGHTEENTH CENTURY ENGLISH SATINWOOD FIRE 
SCREEN 


Sheraton period. Corners inlaid with various woods in a floral design. | 
Supported by four scroll feet inlaid in a similar manner. Fitted with 


sliding silkwork panel. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE 
TABLE 

Sheraton period. Lift-up top inlaid with nautilus shell and border with 

narrow band of satinwood; inlaid rosetted dies; on four square tapering 


legs. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD HALF-CIR- 
CULAR CONSOLE TABLE 

Sheraton period. Top inlaid with a shell design, border inlaid with a 

floral band; rosetted dies. On four square tapering legs inlaid in a 


similar manner. 


TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOK- 
CASES 


4 a Chippendale period. Top part formed as a cabinet enclosed by two glass 


panelled doors of a Gothic arch design, surmounted by moulded cornice 
designed in a similar manner. Lower part with moulded edge and 
panelled doors enclosing a cupboard. On moulded base. (2) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE 
Chippendale period. ‘Top part formed as a cabinet enclosed by two 
glass panelled doors of a Gothic design surmounted by moulded cornice 
carved in a similar manner. Lower part with moulded edge and two 
panelled doors enclosing a cupboard. On carved and moulded base. 
Similar to the preceding. 


EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE 

Sheraton period. Shaped top, inlaid mahogany border; fitted with four 
drawers with turned ivory knobs; inlaid scrolls and flowers; lower part 
formed by cupboard with shutter doors, inlaid leaves, scrolls and flowers 
in various woods on a satinwood ground. On shaped and moulded base 
inlaid in a similar manner. | 


KIGHTEENTH CENTURY ENGLISH MARBLE MANTELPIECE 
Adam period. 


170 


980 EIGHTEENTH CENTURY ENGLISH MAHOGANY SCREEN 
me Sheraton period. On the left upsliding panel with two extension panels 
= S of red damask; frame inlaid with bands of satinwood; on four scroll 
feet connected by understretcher. 


981 EIGHTEENTH CENTURY FRENCH CARVED WOOD AND 
GILT SIDE TABLE 
Sg Louis Seize period. Front and sides carved in a leaf and scroll pattern ; 


rosetted dies; on turned tapering legs; original gray marble top. 


982 EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND 
GILT CONSOLE TABLE 
Queen Anne period. Top with moulded edge carved in a scroll design; 
y/ 1.0 below is a female head on the side of which are leaves and scroll; sup- 
ported by cabriole legs terminating in scroll feet, standing on a square 
platform with leaf-carved and moulded edge and in the centre of which 
is a shell carving in relief. Original colored marble top. 


983 SET OF FIVE SEVENTEENTH CENTURY WALNUT SIDE 
CHAIRS 

Stuart period. High backs with leaf, shell and scroll carved pediments. 

/ OO Twisted side rails surmounted by urn finials; supported by turned bell- 

shaped legs connected by crossed moulded understretcher holding an urn 

pola the centre. Seats and backs upholstered and covered in Flemish tap- 

estry worked in a design of large floral bouquets in bright colors on a 


tan ground. (5) 


984 SET OF FIVE SEVENTEENTH CENTURY WALNUT SIDE 
CHAIRS . 


/ po Similar to the preceding. (5) 


985 EIGHTEENTH CENTURY ENGLISH FOUR-FOLD EMBOSSED 
AND PAINTED LEATHER SCREEN 
¥/° Decorated with a design of birds, fruit and flowers in many colors on an 


embossed scroll and leaf ground. 


986 EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD 


TABLE 
Chippendale period. Circular pull-up top; on square column carved 
with fleur-de-lys. Standing on three cabriole legs carved at the knees. 


174 


987 EIGHTEENTH CENTURY ENGLISH MAHOGANY KNEEHOLE 


DESK 
Chippendale period. Top edge carved in a ribbon motif. Pedestals 


a O — fitted with three drawers and supported by bracket feet. The recess sec- 
as tion is fitted with a cupboard with drawer above. 
988 EIGHTEENTH CENTURY ENGLISH MAHOGANY LIBRARY 
TABLE 
| Sheraton period. Circular top covered in brown leather surrounded by 
4 O satinwood border; fitted with eight drawers, inlaid in a similar manner ; 
* supported by four turned columns on four shaped legs. 
989 EARLY EIGHTEENTH CENTURY ENGLISH EXTENSION 
DINING TABLE 
;) Top inlaid in a geometrical design and small panels of rosettes. Base 
f carved on sides and ends with leaves and flowers in relief. Mask-head 
| corners; supported by four turned and leaf-carved columns connected 


by moulded understretcher standing on four lion’s feet. 


990 SET OF FIVE EIGHTEENTH CENTURY ENGLISH MAHOG- 
ANY SIDE CHAIRS 
A Adam period. Backs formed by shaped panel with a carved leaf and 
a flower fretwork; on two shaped supports with oval panel in the centre, 
yy carved fleur-de-lys; plain moulded apron; rosetted dies; on turned fluted 
tapering legs. (5) 


991 EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE 
TABLE 
/, a, Sheraton period. MHalf-circular lift-up top, inlaid with a broad band 


of satinwood; on square inlaid tapering legs. 


992 EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE 
TABLE 
( 0 O Adam period. Half-moon shape; front carved with festoons and rosettes ; 
dl on square tapered legs carved with fleur-de-lys. Marble top with fes- 
toons of leaves inlaid in various colored marbles. 


993 EIGHTEENTH CENTURY ENGLISH FIVE-FOLD LEATHER 


SCREEN 
‘é Each fold decorated with a design of floral wreaths on a gold ground; 
AT in the centre, suspended by a bow-knot, is an oval medallion of a clas- 
| sical figure in grisaille. 


172 


994 


999 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- 
TAIRE-BOOKCASE 

Sheraton period. Upper part composed of a cabinet enclosed by oval 
mirror plate surrounded by bands of satinwood; rosettes in corners ; 
surmounted by cornice with fluted apron; rosetted dies, above which is 
an oval panel with leaf and fan carving. Carved urn on each end. Lower 
part composed of cylinder secrétaire, the interior of which is fitted with 
small drawers and compartments. Below is a cupboard enclosed by two 
doors with oval panels of satinwood inlay, carved rosettes in corners; 
above, two small drawers; with original brass knobs; on moulded base. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE 
Hepplewhite period. Shaped top, plain sides and apron; fluted dies; 
standing on square fluted tapered legs. 


EKIGHTEENTH CENTURY ENGLISH MAHOGANY TABLE 
Sheraton period. In two parts with a single drop-leaf. The ends are 
ovoid, the legs square and tapered, the apron edged with a narrow 
inlay in satinwood. The cartouche above the legs has an oval inlay. 


SET OF SIX EIGHTEENTH CENTURY ENGLISH PAINTED 
ARMCHAIRS 

Adam period. Backs formed by shaped top rails with cross splats in 

the centre; shaped arms on column rests; supported by turned tapered 

legs; cane seats. The whole painted buff color. (6) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY POLE | 
SCREEN 
Sheraton period. Panel supported by inlaid tripod stand. 


SET OF EIGHT EIGHTEENTH CENTURY ENGLISH PAINTED 
SIDE CHAIRS . 

Adam period. Carved top rail painted in a leaf and scroll manner; 

sides painted to simulate columns; square tapered legs connected by 


arch-shaped stretchers. (8) 


1000 EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD 


cS 


1001 


Ey? 


TABLE 


Plain circular top, edge carved in acanthus leaves; carved and fluted 
support, on three carved and fluted legs. 


SET OF FIVE EIGHTEENTH CENTURY ENGLISH PAINTED 
LEATHER PANELS 

Decorated in the centre with a design of birds, flowers and leaves in 

colors on a gold ground. Above and below is a wide border with a 


basket of flowers. (5) 


1003 


1006 


EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE 
Chippendale period. Shaped tray top on turned column, supported 
by three shaped legs carved at the knees. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD 
TABLE 
Chippendale period. 


leaves; fluted columnar support carved at the base in a scroll design ; 


Octagonal top with edge carved in acanthus 


on tripod stand, legs carved at the knees. 


EIGHTEENTH CENTURY FRENCH TWO-TIER MARQUET- 
ERIE GUERIDON | 

On columnar stems, outcurved supports with acorn finials of gilded 

bronze, connected by two circular trays of diapered and tinted mar- 

queterie of a variety of exotic woods, with fine inlays of hollywood. 


TWO FRENCH WALNUT ARMCHAIRS 

Louis Seize period. Shaped backs carved in a leaf design; arm sup- 
ports carved with acanthus leaves; front and sides carved in a similar 
Rosetted dies; turned and fluted tapering legs; seats and 


(2) 


manner. 
backs upholstered and covered. 


AN IMPORTANT EIGHTEENTH CENTURY ENGLISH BLACK 
LACQUER CABINET ON STAND 

Queen Anne period. Made in two portions. The upper part is com- 
posed of a cabinet enclosed by two doors decorated with a design of 
Chinese figures and, on the left, may be seen a seated figure of a god; 
a similar figure appears on the right. The whole is beautifully done 
in bright gold on a black ground; original key escutcheon plate, cor- 
ners and hinges fretted and engraved in a flower and pagoda design. 
The returns bear a decoration of water-birds and flowers on a black 
ground and are furnished with their original brass drop handles. The 
interior is fitted with ten various size drawers all decorated with trees, 
flowers and leaves. The reverse of the doors is decorated with a con- 
ventionalized design of flowers and leaves. 

The lower part is supported by spirally twisted legs connected by simi- 
lar crossed understretchers supporting, in the centre, an urn finial; 
decorated with a running design of sea serpents. | 
returns with designs of pagodas, trees, and leaves. Above is an oblong 
panel decorated with dragons, in gold and bright colors. (From the 
Collection of Lord Powerscourt, Powerscourt, Ireland) 


174 


Shaped apron and 


1007 


1009 


1010 


TWO EIGHTEENTH CENTURY FRENCH CARVED AND 
PAINTED WOOD ARMCHAIRS 

Louis Quinze period. Shaped backs carved on the top in a leaf and 
flower design; similar carvings at corners; scroll arms on leaf-carved 
shaped supports; front carved in the centre in a shell pattern inset 
with flowers; at either side are leaf, flower and scroll carvings; sides 
carved in a similar manner; on cabriole legs with shell carving at knees, 
terminating in scroll carved feet. Seats, backs and arms upholstered 
and covered with a flowered brocade. (2) 


EIGHTEENTH CENTURY ENGLISH MARBLE MANTEL- 
PIECE 
Adam period. 


VERY IMPORTANT EIGHTEENTH CENTURY ENGLISH MA- 
HOGANY CIRCULAR LIBRARY TABLE BY THOMAS CHIP- 
PENDALE 

The circular top is divided by fleur-de-lys and scroll carvings into four 

sloping desk tops; each bordered by a wide band of mahogany and a 

rail and covered with a black morocco tooled pad: at the top of each 

pad are receptacles for inkwells and pens. ‘The top is surmounted by 

a square cabinet with panelled doors of richly figured mahogany, each 

enclosing a cupboard fitted with compartments and facing each desk 

top; above are scroll traceries; the dies are in the form of fluted col- 
umns with leaf-carved bases. 

The lower part, which supports the circular top, is composed of four 

pedestals, each fitted with four drawers with their original brass drop 

handles; and flanked by fleur-de-lys festoons suspended from flowers. 

Standing on moulded base carved in an acanthus leaf manner. 


TWO EIGHTEENTH CENTURY FRENCH GILT SIDE CHAIRS 


Louis Seize period. Oval backs, carved flowers; front and sides carved 


yin 
rye with festoons; on round fluted tapering legs. Cane seats and backs. 


1011 


(2) 


TWO EIGHTEENTH CENTURY FRENCH CARVED AND GILT 
WOOD SIDE CHAIRS 


On Louis Seize period. Beaded backs carved in the centre with fleur-de- 


ay, 
Do 


lys; front and sides with wheel pattern carving on carved and fluted 
tapering legs. Seats and backs upholstered and covered in a buff- 
colored damask. (2) , 


175 


—— 


wy 


1018 CHARLES DICKENS 


1012 EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY 


SECRETAIRE-BOOKCASE BY THOMAS CHIPPENDALE 
In two parts: lower composed of four long drawers faced with scrolled, 
moulded, oblong panels fitted with four finely chased, scrolled escutcheon 
plates and rosetted drop-handles of bronze. The body rests on a leaf 
and lozenge carved ogee moulding supported by four boldly curved 
legs terminating in claw feet. The hinged desk flap is carved with 
scrolled mouldings which are joined by oak-leaf and honeysuckle mo- 
tives and floriated festoons in low relief. ‘The interior is fitted with long 
drawers with their original tracery in the Chinese taste and arched 
pigeonholes. In the centre is a cupboard enclosed by a door faced 
with an uncommonly carved leaf and husk relief. The upper portion 
forms a bookcase with octagonally mullioned and glazed doors; stiles 
carved with beribboned floral festoons. ‘The cornice is enriched with 
traceries in the Chinese taste and is headed by a handsome gallery 
designed to form a balustrade with moulded vase-shaped balusters 
crowned by urn-shaped finial and cornucopie. 
[SEE ILLUSTRATION | 


J. G. G. ZIMMERMAN 
ENGLISH, SECOND HALF OF THE ETCHTEENTH CENTURY 


IF 


Profile portrait from life of the Author in his early fifties presented to 
the Dickens Society by Sir W. A. Fraser, Bt. 


176 


EIGHTEENTH CENTURY ENGLISH CARVED 
MAHOGANY SECRETAIRE-BOOKCASE BY 
THOMAS CHIPPENDALE 


[1012] 


1014 PAINTED WAINSCOT BY JACOB DE WITT 


Composed of 5 large canvasses, and one overdoor, decorated with 


: cae rocaille scrollings and floral festoons and entwined with volvolus and 
) | with paintings of pastoral figure subjects in the spirit of Lancret, with 
NaS background of landscapes and imaginatively composed architectural de- 
any / tails. The dadoes with groups of putti en camaieu. Light jade-green ~ 
f colored ground. ‘These panels were removed from a room in an old 
Ag house in Groeningen. 


Jacob de Witt, 1695-1754, was a Dutch painter of the eighteenth cen- 

tury. He attained unusual distinction as a decorator of interiors even 

more than as a painter of easel pictures. Some of these latter, however, 

are to be found in the leading galleries of Europe. 

Height of each panel, 11 feet 3 mches. 
Width of two, 18 feet and 7 feet 3 wches. 
Width of each of others, 7 feet 5 mches.& 
[SEE ILLUSTRATION | 


1015 TWO EIGHTEENTH CENTURY FRENCH CARVED AND 
PAINTED WOOD ARMCHAIRS | 
5; Louis Seize period. Backs divided into two panels by leaf-carved 
ie) eee strips; scroll arm supported by urn-shaped columns; front and sides 
J ' 
; with leaf carvings; on turned tapering legs. Upholstered and cov- 


; ered in a striped silk. (2) 


1016 SET OF FOUR LOUIS SEIZE WALL APPLIQUES 
Centre stem in the form of a fluted torch with ram’s head carving in 
ke GA {Z ere t~ relief in centre, above which are three seroll-shaped leaf-carved arms 
supporting bobeches and candle holders. (4) 


1017 SET OF FOUR LOUIS SEIZE WALL APPLIQUES 


0} pot Ne Ae mae Prete Oe ee (Fe) 


ae eee CENTURY FRENCH PETIT POINT PANEL 
Louis Quinze period. Composed of a centre panel representing a seated 


ifs female figure framed by lightly colored leaves and scrolls, above which 
0 


is suspended a basket containing multi-colored flowers. At the ex- 
treme left and right may be seen parroquets with richly colored plum- 
abo fet surrounded by conventionalized leaf, flower and scroll design. The 


whole worked in blues, blue-greens, reds, tans and canary-yellows in 
silks on a cream-colored ground. 


Size, 7 feet 3 inches x 8 feet 4 inches. 


1019 EIGHTEENTH CENTURY FRENCH PETIT POINT PANEL 
Louis Quinze period. Composed of a conventionalized pattern of leaves 
[32 and flowers worked in bright greens, blues, and browns in silks on a 
canary-yellow ground. Size, 6 feet 4 inches x 4 feet 10 inches. 


178 


PAINTED WAINSCOT BY JACOB DE WITT 
[1014] 


1020 
4nd) 
4 
/ 
1021 


SIXTEENTH CENTURY FRENCH WALNUT ARMOIRE 
A DEUX CORPS WITH CARVINGS BY GERMAIN PILON 
Made in two portions, the upper part composed of a cabinet with 
two doors, recess panelled and carved with figures of Saint Hubertus 
and a motif of Diana in low relief, between three-quarter and half 
columns of the Corinthian order with fluted shafts and carved plinths 
and headed by a superbly carved frieze of winged seraphim recumbent 
on scrolls and cherub-head corners with conventionalized wings; the 
returns are furnished with protruding panels with rosetted centres. 
Beneath are two drawers carved with recumbent figures of deities; the 
returns with scrolls, and the dies conventionalized amorini heads and a 
centre female mask. ‘The lower portion in the form of a buffet with 
two doors and two drawers carved with historical and mythological 
subjects, with dies of boldly carved winged cherub heads and stiles of 
three-quarter and half fluted columns, the plinth carved in oak-leaf 
tracery and capitols in acanthus. Sturdily moulded base. The rich 
surface condition and the excellent state of preservation of this Renais- 
sance cabinet deserve particular attention. 

[SEE ILLUSTRATION | 


SET OF SIX EIGHTEENTH CENTURY BEAUVAIS TAPES- 
TRY WALNUT ARMCHAIRS 
Louis Seize period. Tapering fluted supports, shaped seat rail, 
moulded and carved shield-shaped backs, moulded gently sloping arms 
and armrests. Backs and seats covered with exceptionally fine Beau- 
vais tapestry composed of bouquets of garden flowers tied with ribbons 
of blue on a cream-colored ground, framed as reserves by rose-crested 
fringed and tasselled draped canopies on a dark golden-yellow ground. 


(6) 


EIGHTEENTH CENTURY FRENCH PAINTED GREGOIRE 
VELVET SCREEN 

Louis Seize period. Composed of three panels. The centre painted 
with a central composition of a stag rising from dense foliage with two 
hounds ready to attack; above is a hunting horn suspended from fes- 
toon scrolls. ‘The left panel represents a fowl beneath a fruit-laden 
tree, and an eagle, with outspread wings, about to descend upon its 
prey; above, from scrolls, is suspended a hunter’s bag. The right panel 
is painted in singerie and bird subjects beneath a feathered canopy. 
Done in soft blues, greens, and tans on a cream-colored ground. In a 
carved oak frame of a later date. 


The velvet paintings of Gregoire, which were claimed to have been exe- 
cuted at the same time as the fabric itself, were in great esteem towards 


the end of the Louis Seize and Directoire periods, and fetched very high 
prices. 


180 


SIXTEENTH CENTURY FRENCH WALNUT ARMOIRE A DEUX 
CORPS WITH CARVINGS BY GERMAIN PILON 


[1020] 


SET OF SIX LARGE LOUIS SEIZE ORMOLU WALL AP- 
PLIQUES 

Centre stem with urn carved in relief holding festoons of flowers and 

leaves on the top; in the centre is a basket containing flowers and 

holding four scroll-shaped arms from which hang draped pendants, and 

supporting leaf-carved bobéches and candle holders. (6) 


EARLY SIXTEENTH CENTURY FRENCH OAK BAHUT 

Formed by a cabinet designed in three tiers, the bottom arched and 
faced by panelled stiles carved with formal arabesques resting on a 
panelled platform with a wainscot backing. The cornice moulding is 
enriched with four uncommonly protruding rosetted studs, the second 
tier bears three panels with medallions of the heads of patricians and 
two narrow panels with flute festoons suspended from winged amorini 
heads; the front is also faced with two half vase balusters carved with 
acanthus leaf and fitted with one door. The third and uppermost tier 
is enriched with Corinthian capitols cresting the panel stiles, and fur- 
nished with two doors and two return panels carved with bust medal- 
lions of noblemen and women in a frame of oak-leaf scrolls. Moulded 


cornice. 


SIXTEENTH’ CENTURY ASTURIAN CARVED AND POLY- 
CHROMED STATUE OF ST. JUAN THE BAPTIST BY JUAN 
MARTINEZ MONTANEZ 

Life-sized upstanding figure of the Saint cloaked in a fur-lined garment 
with a cloak thrown over his shoulder of crimson and gold painted with 
borders of putti and arabesques. The ascetic expression of the youth- 
ful saint with curling hair and a superb modelling of arms and limbs 
designate the master. An amulet of a rosetted bronze chain is thrown 
around his neck; it bears the emblem of the lamb. 

The sculpture stood in the convent of La Nuestra Senora de la Con- 

ception at Seville. 

Martinez Montajfiez was born at Seville in 1568. He became one of 

Spain’s most celebrated sculptors and many of his works are now in the 

Museum of Seville; amongst others, there is a statue of St. John the 

Baptist similar to the one above. 

His last efforts were achieved when he was nearly eighty years of age. 

He holds a similar position in sculpture to that of his contemporary 

Murillo in painting. 


[SEE ILLUSTRATION | 


182 


STATUE OF ST. JUAN THE BAPTIST 
BY JUAN MARTINEZ MONTANEZ 


[1025] 


TWO CARVED AND GILDED CONSOLE TABLES 
LOUIS SEIZE PERIOD 


[1026] 


1026 TWO VERY IMPORTANT CARVED AND GILDED CONSOLE 
TABLES 
Louis Seize period. On bold leaf-carved and festooned scroll supports 
JS Jv ty connected by saltirewise underframing, handsomely carved and crested 
. by an eagle perched upon an acanthus leaf and with vines suspended 
from his outspread wings. Broad apron carved with a rosetted guil- 
’ loche and furnished at the four corners with ram’s heads mascarons 
and a Bacchic mask, leaf and bead cornice carving. Contemporary 
richly figured veneered marble top. (2) 


: 


/ ry [| SERTILL ae ) 
8 Ap CAs [ Ni) ; We 


1027 


CARVED AND GILT GEORGIAN MIRROR 
[1027-1028] 


A VERY IMPORTANT EIGHTEENTH CENTURY CARVED 
AND GILT WOOD MIRROR 
Georgian period. Oblong mirror plate; frame with scroll carving at 
sides and top and acanthus-leaf carving in corners; surmounted by a 
large shell, leaf and scroll pediment. The bottom, with festoons of 
flowers and leaves held by bow-knots; at the extreme sides on the top 
are leaf and floral carvings. 
| SEE ILLUSTRATION | 


A VERY IMPORTANT EIGHTEENTH CENTURY CARVED 
AND GILT WOOD MIRROR 
Similar to the preceding. 
| SEE ILLUSTRATION | 


185 


EIGHTEENTH CENTURY PAINTED WAINSCOT OF “THE 
FOUR SEASONS”: LOUIS SEIZE PERIOD 
A. Summer. The centre occupied by a couple dressed in Louis Quinze 
costumes. A young lad in fawn-colored velvet with a green cloak 
seated on a grassy bench, a maiden, dressed in a tight-fitting jade- 
green velvet hunting jacket with puffed shoulders and wearing a quaint 
cockaded bonnet. The group is flanked by tall trees and rests upon 
a boldly scrolled rocaille platform. The centre formed by a rocky 
shaped member simulating the borders of a lake. Macaws are perched 
upon scrolls and branches and vine-clad satyr stele rise from the 
upper ends of volutes. The top is furnished with a wreath of roses 
holding a portrait medallion of a young woman. The colors are pre- 


dominatingly olive-green and golden-yellow, with brilliant hues on the © 


bird’s plumage. 
B. Sprixc. Similarly composed to the preceding, but with a centre 
occupied by a seated couple with a youthful lover m gray tendering 
a bouquet of flowers to a young woman in a tight fitting rose-colored 
bodice with long gracefully draped over-skirt. The picture is enlivened 
with a brilliantly colored macaw, a cockatoo and parroquets perched 
upon branches. | 
C. Aurumy. Nearly square panel occupied by centre motif of a min- 
strel seated on a bench near a young handsome woman who pours wine 
from a flask, a basket filled with grapes. This composition is flanked 
by vines and trees on voluted scrolls centred upon a bracket painted 
crimson and gold. 
D. Winter. Depicted by a young noblewoman in a fur-trimmed gar- 
ment with an ermine muff and fur-trimmed rose-colored kepi; seated in 
a sled of uncommon spindle-back form, and pushed by a young ad- 
mirer in rich rose-colored velvet with a loin cloth cf skin, over a frozen 
lake at the side of which can be seen an island with a lone house and 
leafless trees. Composition similar to above. 7 
Two overdoors, one painted with a pastorelle of a richly clothed noble- 
woman playing a lute while her graceful attendant dances to her music: 
background of a garden wall with urns and deep green verdure. ‘The 
other, with two lovers in a forest clearing, seated in reverie. 
A large piece of canvas painted with the olive-green background of the 
borders, and cream centre without decoration to cover a door opening, 
completes the set. Sizes, Y feet 3 inches x 21 feet 10 mecehes. 
9 feet 3 inches x 9 feet. 
9 feet 3 inches x. 8 feet 7 ncnem 
9 feet 3 mches x 22> fea 
3 feet 9 mches x 4& feet 4& imches. 
4 feet 1 wnch x & feet 5 inches. 
9 feet 3.inches x 3 fee 
| SEE ILLUSTRATION | 


186 


ot | 
iG 


EIGHTEENTH CENTURY PAINTED WAINSCOT OF 
“THE FOUR SEASONS” 


[1029] 


1030 


1031 


0: e 


TWO IMPORTANT EIGHTEENTH CENTURY CARVED AND 
GILT WOOD TORCHERES 

Adam period. Circular top, ¢ carved in a design of mask-heads, sur- 
rounded by leaf scrolls; fluted underpart with large leaf-carved pen- 
dants in centre. Held by three scroll-shaped supports with leaf carv- 
ing at the top; holding one large and one small shelf, carved in a 
floral and leaf decoration. The supports terminate in heavily carved 
scroll feet and stand on triangular bases. (2) 


TWO IMPORTANT EIGHTEENTH CENTURY CARVED AND 
GILT WOOD TORCHERES 
Similar to the preceding. (2) 


EIGHTEENTH CENTURY ENGLISH MORTLAKE TAPESTRY 
CARPET 

Composed of a conventionalized design of roses, tulips, daisies and vari- 

ous other flowers and leaves worked in bright reds, blues, greens and 

whites on a maroon-colored ground. Size, 13 feet x 8 feet. 


SMALL FRENCH AUBUSSON CARPET 

Centre decorated with an oval medallion representing a bouquet of vari- 
ous flowers worked in bright colors and garden implements: surrounded 
with conventionalized scrolls and leaves. The outer border is com- 
posed of bouquets of flowers with festoons on either side; worked in 
bright reds, blues, and greens on a rose ground. 


Size, 15 feet 2 inches x 11 feet 3 mches. 


en S\fS8 eae 
Jo ) BO Vey | | Dadttang ; 


THE HENRY SYMONS TAPESTRIES 


To the Henry Symons Collection can be justly applied Seymour de Ricci’s 
proud comment on the fine objects of French Cabinet-work which are illustrated 
in his book on Louis Seize Furniture: 

“These valuable works form, in the rather mixed world of art objects, a veri- 
table aristocracy, jealous of its rank and pedigree.” 

There is a hierarchy in the realm of Tapestries as in other provinces of Art: 
tapestries for the king’s throne room and others like those described in the 
Report to Henry VIII of the Commissioners to Reading Monastery: “which 
would hang a mean little chamber in the king’s house.” 

It was the custom of Francois Premier and of Henry VIII of England to send 
emissaries to the Lowlands, claiming to be buyers of “Arras,” but in reality 
gathering political information. These agents spared no money and gained 
the favor of the natives by lavish purchases. Henry VIII’s “‘oourmandise” 
for Tapestries is recorded in over two thousand pieces ranging from the 
richest examples, woven in gold and silver, to the coarsest hangings of ver- 
dure, a fancy followed by nobles. The outcome of this great demand upon the 
weavers was cupidity and, in the short run, commercialism: attempts to market 
Tapestries of an awkward design and coloring and slipshod weave. 

The low warp looms of Flanders and, in the eighteenth century, those of Au- 
busson turned out “pot-boilers” in the spare time between serious commissions, 
of which a goodly lot has come down to us, obscuring the vision of the amateur. 
In collecting his Tapestries, Mr. Henry Symons has refrained from acquisition 
unless he felt the master’s hand. Rarely has there been an exhibition of Tapes- 
tries selected with such knowledge of the decorative requirements of the day for 
skill of composition and harmony of color. 


1034. SEVENTEENTH CENTURY BRUSSELS GOLD AND SILVER 
THREAD TAPESTRY BY JEAN FRANCOIS VAN DEN 
HECKE (1676) 

SumMER. At the right appears the seated figure of Ceres represented 
by a Court lady dressed in Louis Quatorze costume and holding a 
#©"_ torch in her left hand and sheath in her right. She is surrounded by su- 
perbly cloaked allegorical figures whose cloaks are richly embroidered 
with gold and silver threads, some in an intricate lace pattern; the 
centre is marked by a fruit-laden vase worked with scrolls of gold 


left appears a group of two handsomely attired goddesses, one repre- 


/ Lt thread, and landscape filled with bathing nymphs and verdure. To the 
) 


senting Diana with a lion at her side, and a harvesting landscape be- 
yond. Superb border of groups of garden flowers enlivened with 
macaws, flower urns, and emblems of love. The top and bottom border 
are designed with flower and fruit scrolls and a great variety of em- 
blems with the design spreading into the tapestry. The top in a car- 
touche is inscribed “Aestas.” The tapestry is signed with the Brus- 
sels mark. Size, 12 fect 6 inches x 16 feet 2 inches. 


189 


1085 SEVENTEENTH CENTURY BRUSSELS GOLD AND SILVER 
THREAD TAPESTRY BY GERARD PEEMANS: “THE MAR- 
RIAGE OF ZENOBIA, QUEEN OF PALMYRA, TO ODENA- 
THUS” 
In the centre appears the majestic figure of the powerful queen cloaked 
‘n blue with the borders of her robe embroidered with bands of gold 
and silver bullion heightened with crimson and designed with bees and 
lozenges. She wears a broad girdle worked in a similar manner, and a 
gold and silver embroidered diadem. Her outstretched right hand is 
‘linked with the hand of Odenathus in royal gold and silver embossed 
mail and with a wreath in his curling hair. Beneath stands a cupid 
with a crimson drapery thrown around his shoulders, which is enriched 
with gold threads. To the rmght are seven youthful figures with gifts 
and symbols with their hair richly dressed in the Louis Quatorze fashion. 
To the left the scene of a sacrifice with priest in a flowing blue soutane 
recalling Zenobia’s blue cloak, and Bacchic putti with vineleaves in their 
hair, and beyond soldiers in armor. he centre is headed by putti in 
flight carrying emblems of love. Magnificent border on four sides, the 
Q . top composed of bold floral swags and two-handled urns flanking a car- 
touche with an explanatory Latin inscription: “Maris Emans Recrna 


ZenNoBiA AD Previa Tentip. Est Brerir sus Opon. Isa Viraco 
Carutr.” The stiles are composed of imaginatively designed fountains 
with dolphin spouts crested by fruit-laden urns, above which are fes- 
toons of garden flowers and feathers held by winged cupid. The bot- 
tom border composed of a formal urn on claw-foot supports flanked 
by intertwined fruit festoons. ‘The bottem is signed with the Brussels 
signature and the letters of the weaver, G. PEEMANS. 
The above tapestry is mentioned in “Histoire Générale de la 'Tapisserie,” 
Flemish section, and also in Wauter’s “La Tapisserie Bruxellois.” 
Size, 18 feet 8 inches x 17 feet 11 inches. 


4790 


! 


[1036] 


1036 EARLY EIGHTEENTH CENTURY BRUSSELS TAPESTRY BY 
LECLERC: “FISHING AT ANTWERP” 
A pleas the right background appears the rounded silhouette of the Steen, 


with canopied pavilions and figures, and beneath in blue waters three 
fishing boats with fishermen pulling in their nets; and to the right a 
stone dock with fishermen emptying their baskets and a group of 
burghers. Woven in soft tones of rose, blue and grisaille, with silk 
threads predominating. The border simulating a carved wood frame 
is signed with the Brussels mark and the letters LeCiterc. (From 
Lord Ravensworth, Ravensworth Castle, Durham) 

; | Size, 10 feet 8 inches x 8 feet 5 inches. 


191 


d 


1037 


SARLY EIGHTEENTH CENTURY VALENCIENNES TENIERS 
TAPESTRY: “THE VILLAGE DANCE” 

The right and left foreground occupied by a group of youthful peas- 
ants surrounding two pairs of dancers, of which one is clothed im 
crimson and green, with a feathered béret on his head, and wears 
around his shoulders a ribbon from which hangs a decoration of an 
eagle with outspread wings. A group of musicians surrounded by 
peasants holding stone jugs and drinking glasses. 

Background of a farmhouse screened by soft green bushes in bloom, 
duck ponds, and beyond, hamlets and the blue-green plain in the far 
distance. To the right in front of a group of trees appears a gayly 
trimmed Maypole. Border to simulate carved wood frame. 

The drawing of the figure subjects represents Teniers in his best period 


influenced by Rubens’ mastery. Size, 10 feet x 9 feet 8 mches. 


LATE FIFTEENTH CENTURY CATALAN TAPESTRY PAN- 
EL: “FROM THE HISTORY OF HERODIAS” 

In the upper background is a fortified tewn with a round towered 
gate from which emerges a procession of burghers behind King 
Herod, kneeling before the crowned upstanding figure of Salome hold- 
ing the head of St. John. Behind Salome appears an attendant with a 
bag about to receive the head of the martyr. The entire centre fore- 
ground is filled with a group of guardsmen in medieval armor. with 
helmets and feather-crested berettas. Ground of foliage and game 
birds in the Mille Fleurs manner and two upright stiles designed in a 
rich fruit and flower pattern, in crimson and green blues in the Gothic 
taste. 

The delicate treatment of the subject of Herodias is especially note- 
worthy. Size, 10 feet 2 inches x 8 feet 8 inches. 

[SEE ILLUSTRATION | 


Loe 


LATE FIFTEENTH CENTURY CATALAN TAPESTRY PANEL 
“FROM THE HISTORY OF HERODIAS” 


[1038] 


1039 


EARLY EIGHTEENTH CENTURY AUDENARDE TAPESTRY 
PANEL: “LA CHASSE CHAMPETRE” 

Occupied by a composition of two archers dressed in blue and amethyst- 

colored velvet, and groups of lovers in verdure, surrounded by a hand- 

some floriated scroll border worked in multi-colored hues on a dark 


brown ground. Size, 8 feet 10 inches x 7 feet 6 inches. 


[SEE ILLUSTRATION | 


194 


t 
t 
t 
F 
t 


[1040] 


1040 EARLY EIGHTEENTH CENTURY AUDENARDE TAPESTRY 
PANEL: “LE JEU CHAMPETRE” 
Occupied by two children in pretty Louis Quatorze costumes, cach hold- 
ing a cane in an effort of pulling: background of densely filled verdure, 
and a village with tower beyond. Border similar to the preceding. 
Size, 9 feet x 7 feet '7 inches. 


[SEE ILLUSTRATION | 


195 


[1041] 


SEVENTEENTH CENTURY NEEDLEWORK AND WALNUT 


WING SOFA om 8 
toni lee z | ua a frame of four voluted and leaf-carved sup- 


ports connected by moulded and scrolled front rails of a design of a 
sturdy but exceptionally graceful pattern. The rectangular back, 
down cushion seat and sloping wing arms are covered with an infinite 
variety of imaginative figures, flowers and bird subjects, such as the 
précieuses of the Court of the Grand Monarch in classical poses sur- 
rounding a Bacchic youth and others gathered about Neptune’s chariot 
drawn by two winged horses, detached floral sprays in the Persian taste, 
birds in heraldic posture and others perched on the trunks of trees 
in bloom. he figures are worked in an exceptionally fine petit point 
silk needle stitch, while the flowers are of gros point in soft greens, 
crimsons and tans on a cream-colored ground. 

1t is now almost impossible to find a settee of such importance coy- 
ered all over with original needlework of this quality, untouched by the 
wear of time. / : 

\ [SEE ILLUSTRATION | 


196 


1042 


Ms 


[1042] 


EARLY SEVENTEENTH CENTURY CARVED WALNUT CAB- 
INET 
Louis Treize period. Made in two parts. The lower portion 1s 
formed by a cupboard enclosed by two panelled doors, each door bear- 
ing carvings in high relief: they are composed of a lamp with scrolled 
handle and bearing a mast-head in the front; above is a coat of arms 
with tassels at the sides which are held by intertwined ropes ; fluted and 
beaded frame. The sides are flanked by fluted incurved columns resting 


TOT 


1043 


on a moulded base. Fluted cornice moulding. ‘The upper part is 
formed as a cabinet with drop front; in the centre is a carving of an 
urn with fluted sides, below which are festoons of leaves; above on the 
right, is a ram’s head. The panel is flanked, on the interior, by winged 
seraphim, and separated from the urn by scroll traceries. ‘The frame 
is carved in a wheel pattern. The sides are flanked by columns. The 
interior of the cabinet is composed of a small door holding a mirror 
panel, the frame of which is carved in a fluted manner; it is flanked 
on either side by four long drawers with wheel and scroll traceries ; 
above is a small drawer carved with a female head in the centre sup- 
porting a scroll and fluted arch, below is a drawer, the exterior carved 
in a fluted urn design. The cabinet is surmounted by a cornice arawer, 
which is secreted by an oblong panel with a lion mask-head in the 
centre. Moulded cornice. 
[SEE ILLUSTRATION | 


TWO DECORATIVE CEILING PANELS BY SIR JAMES 
THORNHILL: NIGHT AND DAWN 

Night is represented by the draped half-nude figure of Venus with a 
crescent in her hair, standing on a large crescent, and beneath a winged 
figure draped with a star-spangled cloth, who receives from a winged 
amour with butterfly wings the starlight, which banishes darkness. Be- 
neath are animals, emblems of night, sleep, death, and the passing of 
time. 
Dawn is represented by two winged genii, and the figure of Flora in 
flowing white robes held by a rose-colored girdle and holding in her 
hand a garland of roses. Flowers are tendered to her in a filled basket 
by a winged putto beneath her. Below are two draped nude figures 
of entrancing beauty pouring clear water from buckets on a rosy young 
amour who represents the newly born day. (2) 

| Size of each, 18 feet x 8 feet. 


Sir James Thornhill, the son of a gentleman of old family in Derby- 
shire, was born at Melcombe Regis, 1676. His father having been 
reduced to poverty, the son was-obliged to look out for a profession 
for support. He had conceived an early inclination for painting, and 
came to London, where his uncle, Sydenham, a well-known physician, - 
placed him under the tuition of Thomas Highmore. He had acquired 
considerable fame as a painter when he started on an expedition 
through Holland, Flanders, and France. On his return to England, 
he was appointed by Queen Anne to paint the cupola of St. Paul’s 
Cathedral, which he decorated with eight scenes from the history of the 
apostle. ‘These have been engraved in as many plates, by Du Bose, 
Beauvais, Baron, G. Van der Gucht, and Simoneau. He was after- 
wards employed in painting an apartment at Hampton Court with 
some emblematical subjects, relating to the histories of Queen Anne 


198 


TWO DECORATIVE CEILING PANELS 
BY SIR JAMES THORNHILL 


[1043] 


i 
{ 
i 
i 


and her consort, Prince George of Denmark. He was employed on 
the decorative paintings at Greenwich Hospital, in the great hall at 
Blenheim Palace, on the saloon and hall at Moor Park, on the hall and 
staircase at Easton Neston, and on the chapel at Wimpole. He also 
painted altar-pieces for All Souls’ and Queen’s Colleges, at Oxford. 
These considerable works were very ill paid, and he found it difficult to 
obtain the stipulated prices. His demands were contested for his paint- 
ings at Greenwich; and though La Fosse, the French painter, received 
two thousand pounds for his work at Montague House, and five hun- 
dred pounds more for his support, ‘Thornhill could obtain only forty 
shillings a square yard for the cupola of St. Paul’s, and the same for 
Greenwich. Sir James copied Raphael’s cartoons, then at Hampton 
Court, being employed three years on the work. At the sale of his 
pictures after his death, these copies were purchased by the then Duke 
of Bedford, and were placed in a gallery in Bedford House, Blooms- 
bury. When Bedford House was taken down, the duke presented them 
to the Royal Academy. 

Sir James Thornhill was honored with the particular patronage of 
George I, by whom he was knighted, and-was elected to represent his 
native town in parliament. He died at Weymouth in 1734, leaving a 
son, John, and a daughter, who was married to William Hogarth. 
Thornhill has left a few slight etchings; among them an “Adam and 
Eve.” 


[SEE ILLUSTRATION, PAGE Eo 


200 


[1045 | Vasu [ 1044 | 
1044 AN Tate oer OF SIX SEE MEEEEMPERCENTURY 
ITALIAN ARMCHAIRS 
Backs formed by two uprights with carved leaf and scroll gilt wood 
[sv finials, covered with tooled leather. In the centre is a coat of arms 
with leaf designs in corners. The whole is surrounded with floral bor- 
Cah ders. Plain moulded armrests held by turned supports. Square legs 
on moulded stretchers with claw feet. Seats upholstered and covered 
with plain brown leather. Leather apron with floral borders in gold. 


(6) 
[SEE ILLUSTRATION | WAGE 


1045 AN IMPORTANT SET OF SIX S#A4EA-EEEMPEHR CENTURY 
ITALIAN ARMCHAIRS 
Backs formed by two uprights with carved leaf and scroll gilt wood 
finials, covered with tooled velvet. In the centre is a coat of arms with 
O leaf and scroll designs in corners. The whole is surmounted by floral 
} Bee oraere. Plain moulded armrests held by turned supports. Square 
legs on moulded stretchers with claw feet. Seats upholstered and cov- 
ered with plain brown leather. Leather apron with floral borders in 
gold. (6) 


[SEE ILLUSTRATION | 


201 


SIXTEENTH CENTURY TUSCAN CARVED WALNUT 
CENTRE TABLE 


(1046 | 


1046 SIXTEENTH CENTURY TUSCAN CARVED WALNUT CEN- 
TRE TABLE 
On two bold vase-shaped trestles terminating in lion’s-claw supports, 
moulded in the form of volutes and carved with guilloche rosettes. Tel Fr) 
centre is furnished with a grotesque mascaron with festooned pendants —— 
centering upon a scrolled biped. The trestles are connected by a 
double vase shaped rail carved with honeysuckle volutes in bold relief. 
Original two-inch solid walnut top. 
[SEE ILLUSTRATION | 


202 


1047 


1049 


KIGHTEENTH CENTURY ENGLISH MAHOGANY WING 
CHAIR 7 

Chippendale period. Carved scroll underpart supported by four legs 

carved at knees and terminating in ball and claw feet. Upholstered 

and covered in a floral silk damask. 


SEVENTEENTH CENTURY ENGLISH GROS POINT NEEDLE- 
WORK CARPET 

Stuart period. The centre is occupied by a reserve of a vase, from 
which rise stiff flowers flanked by macaws in heraldic posture worked 
in two-tone olive-green, orange-red and blue and cream on a black back- 
ground, and surrounded by trellised and floriated reserves on a diapered 
blue and amber-colored ground with a centre field of bold Persian 
arabesques on emerald. The entire carpet is bordered by arabesques 
of multi-colored silks on a black woolen ground. 

Size, 7 feet 514 inches x 4& feet 714 inches. 


SEVENTEENTH CENTURY FLEMISH TAPESTRY CUSHION 


Woven in a design of a cupid and worked in silver and woolen threads. 


SEVENTEENTH CENTURY FLEMISH TAPESTRY CUSHION 


Woven in a design of a cupid and worked in silver and woolen threads. 


EIGHTEENTH CENTURY ENGLISH WALNUT WRITING 
TABLE 

Queen Anne period. Moulded top; front fitted with two He and one 

shallow drawer; arched kneehole; on cabriole legs. 


SEVENTEENTH CENTURY ENGLISH CREWEL WORK 
COVER 

Stuart period. The centre is covered with a design of floral sprays 

and leaves worked in brilliantly colored wools; surrounded by a wide 


border with a similar running decoration. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TIP-TOP 
TABLE 

Chippendale period. Circular top with moulded leaf and shell carved 
edge; turned columnar support on three curved legs carved at the 

knees and terminating in ball and claw feet. 


SEVENTEENTH CENTURY RED SILK DAMASK COVER 


Conventionalized design of leaf sprays and flowers. 11 yards. 


203 


10498 EIGHTEENTH CENTURY ENGLISH RED LACQUER CABI- 


NET ON CARVED AND GILT STAND 

Queen Anne period. Made in two portions: the upper part formed as 
a cabinet, enclosed by two doors, the exteriors of which bear a raised 
decoration of Chinese scenes of pagodas, gardens, and figures, all 
painted in gold and black on a red lacquer ground. ‘The doors are 
fitted with their original chased hinges and large escutcheon plate. The 
‘nterior of the cabinet is fitted with a system of small and large draw- 
ers, decorated on the outside with floral emblems and views of pagodas. 
The reverse of the doors is decorated in exotic birds, flowers and butter- 
flies. The lower part is composed of a stand supported by six scroll- 
shaped legs connected by understretchers, and from the top of which 
hang festoons of flowers and leaves; these are surmounted by female 
heads which support a moulding carved in an acanthus-leaf manner, 
and from which hang intricately carved festoons of flowers and leaves. 


[SEE ILLUSTRATION | 


204 


QUEEN ANNE RED LACQUER CABINET ON 
CARVED AND GILT STAND 


[10498] 


1050 EIGHTEENTH CENTURY ENGLISH MAHOGANY WING 


CHAIR 
Chippendale period. On ball and claw feet. Upholstered and covered 
in floral and figured silk. Loose cushion seat. 


1050a SIXTEENTH CENTURY FRENCH CARVED WALNUT AR- 


MOIRE A DEUX CORPS 

Made in two portions: the lower part rectangular in form. The front 
fitted with two doors and two cornice drawers; the doors are carved 
in low relief with figures of Philip of Macedonia and Alexander on horse- 
back, with the bodies of conquered kings under the horses’ hooves. In the 
right upper corner is a carving of a Gothic church; stiles carved with 
upstanding figures. ‘The moulded base rests on grotesque hippopota- 
mus and lions’ heads. ‘The frieze is carved with fruit rosettes flanked 
by sea horses and the dies faced with lion-headed mascarons. Panelled 
returns. The upper portion bears two recessed panelled doors carved 
with the figures of Frangcis Premier on a spirited feather-crested 
horse, and the Dauphin also on a horse rampant, with flying winged 
amorini holding a wreath above his head. The stiles are carved in high 
reef with armor-clad warriors, terminating in interlaced dolphin — 
bodies. The entablature is enriched with superbly carved rosetted 
arabesques and winged putto heads; it is headed by a niche flanked by 
fruit festoons and caryatides and boldly carved mermaid body ear 
brackets terminating in fruit voluted scrolls. The sides of the pedi- 
ment are crested by two motifs of putti riding on sea horses. Original 
wrought-iron key. 


| SEE ILLUSTRATION | 


206 


SIXTEENTH CENTURY FRENCH CARVED WALNUT 
ARMOIRE A DEUX CORPS 


[1050a | 


~1051 
QO 


as 


10538 


1054 


EIGHTEENTH CENTURY ENGLISH SATINWOOD CARD 
TABLE 

Adam period. Top decorated with a painted border in a ribbon and 

floral design. Rosetted dies. On four turned and fluted legs. 


EIGHTEENTH CENTURY ENGLISH TRIPOD TABLE 
Chippendale period. Circular top, beaded edge on fluted column sup- 


port; standing on three legs carved at the knees. 


SEVENTEENTH CENTURY RED SILK DAMASK COVER 
Conventionalized design of leaf sprays and flowers. 514, yards. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- 
TAIRE-BOOKCASE 

Hepplewhite period. The top part composed of a cabinet enclosed 
by two panelled doors in a Gothic design, surmounted by a cornice in- 
laid with bands of satinwood, above which is a fretwork scroll pediment ; 
the lower part, with leaf carving, fitted as fall-front secrétaire contain- 
ing small drawers and compartments ; below are three long drawers with 
original brass drop handles. Standing on a moulded base and sup- 
ported by four scroll feet carved in a Gothic design. 


TWO EARLY NINETEENTH CENTURY ENGLISH SMALL 
TERRESTRIAL AND CELESTIAL WORLD GLOBES 

On turned column standing on three shaped legs. By Cary, London, 

England. Dated 1823. (2) : 


208 


SALE SATURDAY AFTERNOON, FEBRUARY THIRD, AT 2:30 


EIGHTH SESSION 
NuMBERS 1055-1179 


FRENCH AND ENGLISH FURNITURE 
AND IMPORTANT TAPESTRIES 


THIS COLLECTION OF MASTERPIECES 


of French Furniture, by Riesener, Oeben, Beneman, Dubois, Levasseur, Roussel, 
Delorme, Jacob, Saunier, Boudin, Ohneman, Reizell, Boucault, Lelarge, and 
Hoffman, revives the memories of the Hamilton Palace sale. 

Art lovers in the United States, the country of munificent appreciation, have 
not failed to emulate the traditions established by such distinguished collectors 
of French ébénisterie of the last century as Sir William Hamilton, Horace Wal- 
pole, John Jones, Sir Richard Wallace, Mrs. Lyne Stephens, Madame Jubinal, 
etc. Men and women of culture and wealth have vied with one another to be- 
come the owners of graceful and historically interesting “meubles” which, like 
shining meteors, appeared from time to time on the collectors’ horizon: men 
like the late Mr. J. P. Morgan and Mr. W. K. Vanderbilt, and such ardent 
amateurs of the present day as Mr. Joseph Widener, Mr. George J. Gould, 
Mrs. Edward Hutton, and the Misses Hewitt, whose names should be men- 
tioned as having contributed immeasurably to the treasures of this country by 
surpassing the European connoisseurs in the acquisition of some of the rare 
jewels of eighteenth century French ébénisterie. A debt of gratitude is also 
due to Sir Joseph Duveen for his untiring educational efforts in behalf of this 
beautiful art. 

Mr. Henry Symons, in confiding this Collection of such obviously high in- 
trinsic value to The Anderson Galleries, and taking the risk of an unreserved 
public disposal, was actuated by his desire to carry the interest in eighteenth 
century French Decorative Art into broader circles, to create a true under- 
standing—in this country of eagerness to learn—of the value of genuine old 
French Furniture, comparable with genuine paintings and genuine pearls. ‘The 
prices which the Crown of France or inveterate collectors like the Duc d’Aubin 
were willing to pay in their time were, of course, “prix d’admiration.” ‘Though 
the veneers brought with great difficulty from strange parts of the globe were 
costly beyond our present-day imagination, the outlay for labor was com- 
paratively small, and the most fabulous sums were paid in return for genius 
expressed in each piece of furniture and its mounts. 

The French Revolution in its tendency to equalize good and bad had its effect 
of depression on the prices of fine furniture, and one is interested to hear of 
Lord Hamilton’s arrival at Versailles at the sale of the royal furniture dis- 
persed by the impeccable National Convention, 1793-94, to carry off the widely 
advertised bargains. 


209 


The restoration of the Bourbons restored also the taste for the “beau meuble,” 
and prices rose steadily until, in 1882, at the Hamilton Palace sale, we recog- 
nize some of the bargains of 1793 in Number 3801, an upright Secrétaire, 
signed Riesener, 1790, which at this auction fetched £4620, and in Number 
302, a Commode signed by the same master, which fetched £4308. 

In 1901 a pair of Louis Quinze Commodes, from the collection of the Duke 
of Leeds, with mounts attributed to Caffieri, brought £15000 at Christie’s. 
The Goutierrez d@’Estrada at Paris, 1905, and others of similar importance 
confirmed the growing enthusiasm for the inimitable compositions of veneer 
and bronze, and the gratifying events of the Jacques Doucet sale, 1912, are still 


fresh in the minds of art patrons. 


1055 EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD 
TABLE 

Chippendale period. Circular beaded top on fluted columnar support 

standing on three cabriole legs carved at the knees, terminating in 


scroll feet. 


1056 EIGHTEENTH CENTURY ENGLISH MAHOGANY ‘TIP-TOP 
TABLE |. 
Chippendale period. Shaped tray top on turned column supported by 
three shaped legs carved at the knees. 


1057 EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND 
GILT MIRROR : 
Queen Anne period. Oblong mirror plate surrounded by shaped frame 
and surmounted by a shell pediment; at each side are eagle heads. 


1058 EIGHTEENTH CENTURY ENGLISH SIDEBOARD 
Sheraton period. Shaped front. On the left fitted with four small 
drawers with original brass drop handles. On the right four larger 
drawers with similar handles. Original brass top rail. 


210: 


1059 


1060 


1061 


10614 


1062 


1063 


1064 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE 
Chippendale period. The top part composed of large cabinet enclosed 
by glass panelled doors of a Gothic arch design, surmounted by a 
moulded cornice; the top part, carved in a leaf and shell pattern, below 
which is a wide geometrical border with rosettes; the lower part with 
ribbon and leaf-carved edge enclosed by two glass doors, similar to 


- above; on a scroll carved stand. 


SET OF SIX EIGHTEENTH CENTURY ENGLISH CARVED 
AND GILT WOOD SIDE CHAIRS 

Adam period. Shaped backs. Front and sides carved in a ribbon and 

beadwork design; on square tapered legs carved in a fleur-de-lys pat- 

tern. Seats and backs upholstered and covered in green cut velvet of 


a floral design. (6) 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD 
TABLE 

Plain circular top, edge carved in acanthus leaves; turned columnar 

support on three legs carved at the knees in a floral design; ball and 


claw feet. 


EIGHTEENTH CENTURY CAUCASIAN “SUMAK” CARPET 
The centre field is composed of multicolored arabesques on an amber- 
colored ground with formal borders on a rose and cream ground. 

Size, 5 feet 1 inch x 2 feet 8 inches. 


EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 
WOOD MIRROR 

Queen Anne period. Upright, oblong mirror plate, shaped gilt frame, 

surmounted by floral and shell carving, lower part similarly carved. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY TIP-TOP 
TABLE 

Chippendale period. Circular top with leaf and scroll carved edge; 

supported by turned and carved column, standing on shaped legs 

carved at knees and terminating in ball and claw feet. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE 
Chippendale period. Upper part composed of one large and two 
smaller cabinets enclosed by glass panel doors of Gothic design; sur- 
mounted by leaf-carved cornice. The lower part, m a leaf and shell 


carving, composed of one large and two small cupboards, enclosed by 


two panelled doors. On moulded base with beaded carving. 


211 


1065 


1066 


10664 


1067 


1068 


EIGHTEENTH CENTURY FRENCH BUFFET TABLE 

Louis Seize period. Oblong in form, with shaped ends resting on four 
columnar fluted supports, the flutes of which are filled with finely chased 
fillets of bronze and connected by a moulded underframing, covered — 
with beaded fillets. [he body is of finely figured West Indian ma- 
hogany and is panelled with acanthus mouldings and furnished with 
mounts of festooned rams’ head handled urns and festooned escutcheon 
plates. It bears one drawer in the centre. The white marble top is 


guarded by a vase-shaped balustrade. 


EIGHTEENTH CENTURY ITALIAN MARQUETERIE NIGHT 
TABLE OF THE DIRECTOIRE PERIOD 

On four slender tapering square supports, the front fitted with one 
hinged drawer, and inlaid with a marqueterie motif of Ganymede, skil- 
fully laid in hollywood in a circular reserve of dark colored rosewood. 
Panels of festoons, Greek antefix and running leaf borders; the sides 
furnished with parqueterie patterns of light and dark colored veneers; 
countersunk white marble top. 


EIGHTEENTH CENTURY FRENCH PETIT POINT CANTON- 
NIERE 

Louis Quinze period. Composed of a running design of floral sprays 

and leaves; the corners, as well as the centre, bear large bouquets of 

flowers; the whole worked in brightly colored silks. 


EIGHTEENTH CENTURY FRENCH MAHOGANY COMMODE 
Louis Seize period. Rectangular body fitted with two long drawers 
and three narrow drawers, the latter sectioned by fluted stiles, all 
furnished with rosetted drop handles and oval escutcheon plates; sides 
bear torch appliqués of gilded bronze, fluted and terminating in taper- 
ing and fluted supports. The returns are panelled. Shaped Griotte 
marble slab. 

This commode is most representative of the dignity of the style a la 
grecque and is made of a warmly figured Guiana mahogany. 


EIGHTEENTH CENTURY FRENCH ORMOLU AND MARBLE 
CLOCK 

Louis Seize period. Shaped base, with inset panels of leaf scrolls and 

rosettes carved in gilded bronze; above is a female head from which 

hang festoons of leaves. Circular clock case, on the left of which is a 

draped female figure holding a mirror and leaning on the clock case. 


212 


1069 EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 


1070 


1071 


1072 


WOOD MIRROR 
Adam period. Oblong mirror plate surmounted by an urn. with fes- 
toons of leaves and surrounded by a fruit and leaf carving. Base of 
similar design. 


TWO EIGHTEENTH CENTURY FRENCH TWO-LIGHT 
CANDELABRA 

In the form of two bronze cupids, holding a spray of richly carved and 

gilded roses which act as candle holders, on drum-shaped bleu du quin 

marble bases. (2) 


KIGHTEENTH CENTURY FRENCH ROSEWOOD AND MAR- 
QUETERIE CENTRE TABLE OF THE LOUIS QUINZE 
PERIOD ATTRIBUTED TO THE ART OF WEISWEILER 

On boldly curved cabriole supports, terminating in leafy pied-de-biche 

shoes; knee crestings of superbly moulded Caffieri mounts of female and 

male draped caryatid appliqués, with scrolled head dresses; fitted with 
three pull and three blind drawers, furnished with oak leaf scrolled 
handles, and escutcheon key plates. The gondoled body is veneered 
with a light colored rosewood laid in parqueterie and a climbing and 
intertwining composition of foliated, arabesques, laid in scorched woods ; 
shaped top, furnished with the original gold tooled black morocco, 
framed by a band of straight grained satinwood, and bordered by 
narrow bands of straight grained rosewood; ogee curved brass guard. 


BISCUIT DE SEVRES FRUITIERE 

On a base of three upstanding draped female caryatides in classical 
garb, with bodies closely joined and supporting circular moulded plaque 
invested with a brilliant metallic glaze, veined in light blue on a bleu de 
roi ground. 


213 


1073 


SIX EIGHTEENTH CENTURY CARVED AND GILDED 
NEEDLEWORK ARMCHAIRS BY ROBERT ADAM 


[1073] 


SIX EIGHTEENTH CENTURY CARVED AND GILDED 

NEEDLEWORK ARMCHAIRS BY ROBERT ADAM 
On turned fluted supports with ribbon-carved and bulb-shaped members, 
rosetted dies; serpentined fluted front rail, moulded and voluted arms 
and uncommonly carved armrests; oval back carved with a ribbon pat- 
tern; backs, seats and arm-pads covered with a petit and gros point 
needlework of the Regence period, the backs with genre subjects 
amongst Persian arabesques; the seats with jesters, butterflies and 
heraldic birds amongst formal Persian scrolls in brilliant tones on a 
cream-colored ground. (6) 


[SEE ILLUSTRATION | 


214 


1074 


1075 


1076 


1077 


EIGHTEENTH CENTURY FRENCH MAHOGANY ARMOIRE 
Louis Seize period. Rectangular body of the most gratifying propor- 
tions. The front fitted with two long drawers glazed at the top and 
panelled with finely figured wood at the bottom, with beaded and 
moulded bronze mounts. The base is furnished with one long drawer ; 
laurel leaf and cartouche key escutcheon. Panelled returns. The 
body rests on tapering turned supports furnished with acanthus sabots 
and rising into ovolo voluted columnar sides; shaped and moulded cor- 
nice guarded by bronze baguette. 


EIGHTEENTH CENTURY FRENCH MARQUETERIE COIF- 
FEUSE 

Louis Seize period. Rectangular in form, with elaborately shaped and 

arched kneehole. The body covered with a richly figured rosewood 

veneer and panelled with parqueterie of scorched and tinted woods on 

four sides. ‘The front is fitted with one long centre and four side draw- 


ers; the top is made in three hinged parts uncovering compartments 


for cosmetics. The lids are covered with parqueterie patterns with 


inlays of brass, and on the interior with richly figured amboyna laid in 
patterns of diamond form. ‘The centre bears a medallion of exquisitely 
designed musical emblems on a tulipwood ground, with spandrels of 
holly and interlaced meanders of mahogany bound by fine metal lines. 


TWO EIGHTEENTH CENTURY FRENCH MAHOGANY CON- 
SOLES 

Louis Seize period. On fluted tapering turned supports terminating 

in laurel sabots. The curved body holds three deep apron drawers 

which are panelled with finely gilded bronze heads and furnished with 

oak leaf escutcheon plates and trophy festooned die appliqués. Gray 

marble top guarded by fretted and beaded rails. (2) 


EIGHTEENTH CENTURY FRENCH ORMOLU AND MARBLE 
CLOCK 

Half-circular base with inset plaque of richly gilded bronze carved in a 

leaf and flower design. Circular clock case with porcelain dial, on the 

right of which is a draped female figure leaning towards a cupid, on 

the left, who is holding a bow and standing on draperies. Supported 

by four turned and gilded bronze feet. 


215 


1078 


1079 


1080 


1081 


EIGHTEENTH CENTURY FRENCH GILT BRONZE MANTEL 
CLOCK BY MEYER A PARIS 

Shaped base, with acanthus leaf carved edge, standing on ten turned 

and carved feet, supporting in the centre a fluted column upon which 

stands circular clock case surmounted by a bow-knot. On the right 

is a winged and draped female figure; on the left, at the base, is a world 

globe, above which is a winged cupid resting on the clouds. 


EIGHTEENTH CENTURY ENGLISH MIRROR 

Queen Anne period. Oblong mirror plate with arch-shaped top sur- 
rounded by glass panels painted in a Gothic manner in gold on a 
tortoise-shell colored ground. Mirror plate painted at the top with 
Prince of Wales’ feathers. 


EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE 
Chippendale pericd. ‘Top part composed of one large and two small 
cabinets, that in the centre enclosed by a door with an oval glass panel 
surrounded by a wreath of leaves at the bottom of which is a bow-knot; 
below the door is one long drawer with original brass drop handles ; 
those at the sides enclosed by doors with oblong glass panels in moulded 
frames surmounted by drapery carvings in relief. Beaded cornice with 
carved urn pediment in centre. | 

The lower part with plain top and sides; the front carved at either end 
in scrolls and leaves, in the centre an oblong panel representing a lion 
rampant surrounded by shell and scroll carvings. Supported by eight 
square legs, scroll and leaf carved spandrels. 


[SEE ILLUSTRATION | 


KIGHTEENTH CENTURY FRENCH CARVED WALNUT AND 

NEEDLEWORK FIRE SCREEN | 
Louise Quinze period. Shaped frame with a scroll and leaf pediment 
and a similar pendant below. Sides carved in scroll and leaf designs ; 
on cabriole supports connected by in and out curved stretchers. The 
panel depicts a female figure and a dog dancing to the music played by 
a man on a viol; they are surrounded by trees in bloom, worked in 
bright reds, blues, browns and greens on a yellow ground, with a flower 
and leaf border worked in gros point on a tan ground. In each corner 
appears a spray of flowers in brilliant colors on blue. 


216 


EIGHTEENTH CENTURY ENGLISH CHIPPENDALE 
MAHOGANY BOOKCASE 


[1080] 


10814 


1082 


1088 


1084 


THREE EARLY EIGHTEENTH CENTURY FRENCH POINT 
DE SAINT CYR SCREEN PANELS 
Regence period. The three panels composed of four reserves of petit 
point worked with motives of court ladies dressed in royal robes and 
in allegorical postures seated in landscapes with their finely drawn 
faces worked in Gobelins tapestries and their garments in richly col- 
ored silks. The reserves are surrounded by scroll cartouches worked 
in an uncommon velvet ribbon stitch interspersed with gros point 
arabesques. 
These three panels were taken to Russia by the architect Pineau and 
have, until quite recently, been at the Peterhof Palace. (3) 
Sizes, 2 feet 4 inches x 1 foot. 
2 feet 5 mches x 1 foat, 
2 feet 10 inches x 1 foot. 


TWO EIGHTEENTH CENTURY FRENCH ROSEWOOD 
TABOURETS 

Regence period. On cabriole supports carved at the knees in a shell 
and scroll manner terminating in leaf-covered feet, and connected by 
moulded and scrolled shaped understretcher. The four sides bear 
centre motif of a shell with scrolls on either side. The tops are up- 
holstered and covered with a silk gros point in a conventionalized flower 
and leaf pattern in bright colors on a canary-yellow ground. (2) 


EIGHTEENTH CENTURY FRENCH MAHOGANY LADY’S 
WRITING TABLE 

Louis Seize period. On gracefully tapering turned supports fluted with 
finely gilded bronze beadings and headed by barrelled knees. ‘The body 
is of a dark red West Indian mahogany and supplied on the front 
with one long and two short drawers and a similar set of jib drawers 
on the reverse. Reeded drop handles and rosetted key appliqués. ‘The 
top is covered with its original tooled leather pad and guarded by a 
fretted bronze rail. : 


EIGHTEENTH CENTURY FRENCH NEEDLEWORK WAL- 
NUT BERGERE 

Louis Seize period. On turned, tapering and fluted supports; serpen- 
tined front and curved side rails carved with guilloche; the gracefully 
reclining moulded and rounded back slopes into voluted and outcurved 
arms. Back, seat, and arm-pads covered in gros and petit needlepoint 
of the Regence period, the back with a reserve depicting the feat of 
William Tell, composed of figures of richly clad burghers with a back- 
ground of a town and mountains. In the finest silk petit point and 
framed by motifs of Persian arabesques. 


218 


10844 SEVENTEENTH CENTURY VELVET AND EMBROIDERED 


10843 


1085 


1086 


1087 


1088 


CUSHION 
The centre part is composed of an embroidered panel representing a 
Priest, and is worked in gold metal threads and brightly colored silks; 
on each side is a piece of red velvet. The backs are covered with red 
flowered damask. 


SEVENTEENTH CENTURY VELVET AND EMBROIDERED 
CUSHION 


Similar to the preceding. 


EIGHTEENTH CENTURY FRENCH COMMODE 

Louis Quinze period. Bow front fitted with two drawers, covered with 
a parqueterie design of rosewood and mahogany. Shaped returns par- 
queted in a similar manner. Scroll and leaf carved, gilded bronze 
handles and key escutcheon plates. Richly carved leaf and scroll die, 
bronze key die appliqués. On slightly cabrioled legs, the knees with 
leaf-carved festoons, terminating in gilded bronze sabots. Shaped and 
moulded Languedoc marble top. 


EIGHTEENTH CENTURY FRENCH DROP-LEAF DESK 

Louis Seize period. On four curved supports with gilt bronze feet. 
Front fitted with two small and one large drawer, inlaid with bands of 
satinwood. Gilt scroll key escutcheons and scrolled and leaf brackets. 
Drop front inlaid in a design of flowers and leaves in different woods. 
Interior fitted with four small drawers inlaid with bands of satinwood, 
also secret compartment. Gold tooled morocco leather top. 


EIGHTEENTH CENTURY FRENCH MAHOGANY VITRINE 
Louis Seize period. On fluted columnar supports, the flutes filled with 
husk pendants of bronze, crowned by dies enriched by gilded bronze 
rosettes; headed by semi-oval shelf with bronze rail. The body is 
semi-oval with straight front and is furnished with elaborate guilloches 
and husks, bronze mounts filling the panels. The front bears a key 
panel of Sevres bisque of playing putti in white relief on a pale blue 
ground. 


EIGHTEENTH CENTURY FRENCH ROSEWOOD GUERIDON 
Early Louis Seize period. The body is gently gondoled and fitted with 
three shaped drawers, enriched by bands of satinwood on a ground of 
diagonally laid rosewood; finely chased and gilded leaf escutcheon 
plates. The top is covered with a parqueterie pattern of holly and 
thuya wood. 


219 


1089 


1090 


1091 


1092 


EIGHTEENTH CENTURY FRENCH SECRETAIRE A ABAT- 
TANT 

Upright rectangular body panelled with acanthus and beaded bronze 
mouldings containing snakewood veneers of great beauty and uncom- 
mon figure on a body of amaranth. The desk rests on square tapering 
supports and is flanked by Corinthian bronze columns. It is furnished 
with two doors, one desk flap and one cornice drawer fitted with rosetted 
drop handles and open oak leaf escutcheon plates. The bottom rail 
bears a shaped pendant enriched with a gold scroll. White marble top 
guarded by a fretted rail. 


TWO EIGHTEENTH CENTURY FRENCH BRONZE “GARDE 
A VOUS” 

Two superbly modelled bronze figures, one representing a draped female, 

the other, a winged cupid. On shaped marble bases with a leaf and 

scroll carved ormolu centre panel, below which are draperies held by 

bow-knots; at each side is a panel with a festoon of flowers suspended 

from ribbons; on moulded ormolu stand with acanthus leaf carving. 


(2) 


EIGHTEENTH CENTURY FRENCH AMARANTH WOOD 
GUERIDON 

Louis Seize period. On slightly curved, chamfered cabriole supports, 
furnished with leaf-shaped ormolu sabots. The front is fitted with 
three narrow drawers, wavy leaf-shaped top; the entire body covered 
with panels of richly geometrically laid veneers of amaranth with 
borders of thuyawood and bands of satinwood. ‘The supports are 
joined by a tray panel covered with similar precious veneers. 


EIGHTEENTH CENTURY FRENCH MAHOGANY GUERIDON 
Louis Seize period. Circular table on four tapered and turned sup- 
ports enriched with climbing oak leaf garlands, acanthus ring sabots. 
Apron panelled with beaded mouldings of ormolu and furnished with 
husk escutcheons; fitted with two drawers and two candle slides. Sur- 


mounted by a fretted bronze gallery which surrounds a bréche violette 
marble top. 


220 


1093 EIGHTEENTH CENTURY FRENCH ROSEWOOD CENTRE 
TABLE ATTRIBUTED TO CRESCENT, EBENISTE DU RE- 
GENT, 1685-1768 

Louis Quinze period. On four boldly curved cabrioles furnished with 
handsomely chiselled cabochon and acanthus leaf appliqués, beribboned 
fluted guards, and leaf sabots, finely gilded. The aprons are gracefully 
in and out curved and arched. Front fitted with three drawers, the 
reverse with three jib drawers furnished with scroll escutcheon handles 
and rocaille appliqués. The veneer is of an exceptionally fine figured 
rosewood laid diagonally. The serpentined top is covered with its 
original tooled and gilded maroon morocco pad and guarded by a 
bronze moulding which bears four uncommon cabochon bronze corners. 
The locks were replaced by a London locksmith during the reign of 
George ITI. 


1094 EIGHTEENTH CENTURY FRENCH “BISCUIT DE PARIS” 
“SURTOUT DE TABLE” AFTER FALCONET 

Louis Seize period. Representing Mars and Diana. The huntress 
seated on a high rock with the war god towering above her. She is 
surrounded by a torch-bearing amour, a hound and beneath, the bold 
figures of attendants holding the boar, a trumpeter, a spiritedly 
modelled horse and other hounds. This magnificent group is placed 
on a circular contemporary base of mahogany furnished with richly 
gilded panel mounts and flute fillings and an ormolu guard, finely 
chiselled with a running border of hedge roses. 
In a glass case bound by bronze baguettes with bulb-shaped finials. 


221 


1095 DUTCH PAINTED WAINSCOT ROOM BY C. F. DE HOSSON, 
WITH BAROQUELY CARVED WOOD MANTEL AND OVER- 
MANTEL 

Composed of four canvasses painted with pastoral subjects and river 
scenes with figures of shepherds and shepherdesses in daringly colored 
costumes against a blue-green background of verdure filled with sil- 
houetttes of faraway cities, castles and ships driven upstream by ox- 
carts. Motifs of pastoral musicians and bucolic groups with herds of 
sheep and goats. ‘The foliage is enlivened by the white plumage of 
cockatoos. Signed, C. F. de Hosson pinx. 1774. 
Sizes, 11 feet 3 inches x 22 feet. 
11 feet 3 mches x 18 feet 3 wches. 
11 feet 3 winches x 8 feet. 
11 feet 3 inches x 10 feet 6 «inches. 


C. F. de Hosson was born at Bentheim in 1717 and became court 
painter at Bentheim Castle, painting portraits, historical subjects, an ay? 
large decorations, the latter in a delightful manner suggestive of bot iS 

the Dutch Berghem and the Italian Bassano. 


[SEE ILLUSTRATION | 


222 


od 


DUTCH PAINTED WAINSCOT ROOM BY C. F. DE HOSSON 
[1095] 


1096 EIGHTEENTH CENTURY VERNIS MARTIN DOUBLE-KEY- 
BOARD CLAVECIN BY JEAN COUCHET, 1674: REMADE BY 
PASCAL TASKIN, 1781 

Trapeze-shaped body covered on the exterior with green-gold lacquer, 
the favorite pigment of the Brothers Martin, on the interior with book- 
case of naturistically colored flowers after Pillement. ‘The ke¥board 
is composed of black naturals and white ivory sharps. The sounding 
board, with four sets of strings, is painted with flowers in distemper. 
On its contemporary stand with laurel-carved, fluted supports and 


rosetted dies. 


Pascal Taskin was one of the most celebrated harpsichord players of 
the eighteenth century. He was commissioned by the Queen to build 
a spinet of his own conceit (at present in the collection of Miss Belle 
Skinner, Holyoke, Mass. Illustrated in the August, 1922, issue of “The 
International Studio” ). 

The importance of Jean Couchet in the history of the pianoforte is 
referred to in the catalogue of the Crosby Brown collection at the 
Metropolitan Museum as follows: 

“In No. 2363 we have a rare double-harpsichord by one of the inven- 
tors, Joannes Couchet, the grandson of the elder Hans and nephew and 
pupil of the younger Hans or Jean Ruckers of Antwerp. It was 
Couchet who, about 1640, changed the double harpsichord from a mere 
transposing instrument contrived to accommodate the Authentic and 
Plagal church modes with the singer’s capabilities, to a forte and 
piano harpsichord with three strings (reducible to two and one) upon 
the lower keyboard and one string always for the upper. All the then 
existing harpsichords were altered to suit this new system. An excep- 
tion occurs in one I have met with, which probably owes its unaltered 
condition to its long preservation in Italy. J can recall only one other 
Jean Couchet harpsichord, which is in Edinburgh.” 

It is also referred to in Hipkins’ “History of the Pianoforte,” pages 
82-87. 

Instruments similar to the one described above in their time fetched 
prices often ten times the amount asked for the best modern piano. 


[SEE ILLUSTRATION | 


224 


EIGHTEENTH CENTURY VERNIS MARTIN DOUBLE-KEYBOARD 
CLAVECIN BY JEAN COUCHET 


[1096] 


- f\) 1097 


THE RENAISSANCE FLORENTINE CHOIR STALLS OF 
SIR RICHARD WALLACE 


SIXTEENTH CENTURY FLORENTINE CARVED WALNUT 
CHOIR STALL FROM SAN DONATO, FLORENCE 

Composed of three stalls resting on a moulded platform. The backs 

and dado panels carved with Renaissance strapwork tracery; the hinged 

seats, panelled on the under sides, are fitted with moulded brackets upon 

which rest superbly carved male and female mascaron heads. 

The arms are scrolled and fluted while the armrests are moulded and 

act as supports. ‘The upper portions are carved with upstanding 

figures of saints, bishops and monks in arched frames, flanked by ionic 

pilasters. 

Overhanging modillion cornice, intricately carved. 


These stalls were purchased by Sir Richard Wallace in Florence and 
held at Bagatelle for a number of years, and formed part of the be- 
quest made by him to Sir John Murray Scott, from whose estate they 
were acquired by the present owner. 

[SEE ILLUSTRATION | 


fy KV 
/) “ 1098 SIXTEENTH CENTURY FLORENTINE CARVED WALNUT 


CHOIR STALL FROM SAN DONATO, FLORENCE 
Similar to the preceding. 


[SEE ILLUSTRATION | 


226 


THE RENAISSANCE CHOIR STALLS OF SIR RICHARD WALLACE 
[1097-1098] 


1099 


1100 


1101 


EIGHTEENTH CENTURY FRENCH TAPESTRY DRAWING 
ROOM SUITE 
Louis Seize period. On carved and fluted supports, shaped and ribbon- 
carved back, carved incurved arms. Seats, backs and armrests covered 
with Aubusson tapestry, the backs with genre subjects (the settee with 
a motif of “Blind Man’s Buff” played by children in eighteenth century 
costumes after cartoons by Christophe Huet). The seats with animal 
subjects and La Fontaine fables, also after Huet, in soft rose, greens 


and camaieux on a silver-gray ground. 


EIGHTEENTH CENTURY FRENCH SECRETAIRE 

Louis Seize period. In two portions: the lower part, a table, resting 
on columnar fluted supports with bronze beads and rings, connected by 
a shaped shelf. The front is fitted with three drawers panelled with 
bronze beads. ‘The upper portion bears a desk flap concealing a 
cabinet of six drawers and shelves, all panelled similarly to the exterior 
and fitted with bronze ring handles. One cornice drawer. Wooden 
top guarded by fretted rail. 

This desk, designed in a restrained manner of the classical revival 
period, is made of a rich sombre West Indian mahogany. 


KIGHTEENTH CENTURY FRENCH ROSEWOOD COMMODE 
BY LEONARD BOUDIN 

Louis Quatorze period. Gondoled front fitted with two long and two 

short drawers which are furnished with four scroll, shell and cabochon 

rocaille handles and escutcheon plates, finely chiselled and gilded. The 

body is covered with straight and cross-grain veneers of rosewood, and 

figured and herringbone bands of amaranth. Fleur-de-péche marble 

top. 

This commode shows the strong influence of the lines established by 

Cressent, still in favor in the later years of Louis Quatorze. 

Signed, with impressed marks, Leonard Boudin, who became a member 

of the Paris Corporation, March 4th, 1761. 


228 


1102 


1108 


1104 


EIGHTEENTH CENTURY FRENCH CENTRE TABLE 

Louis Quinze period. On four gracefully curved cabriole supports 
furnished with gilded bronze acanthus sabots; beaded fillets and cabo- 
chon knee appliqués finely gilded; the four sides are gently undulating; 
the front is furnished with three drawers, the reverse with three jib 
drawers supplied with scroll escutcheon handles and flanked by fretted 
rocaille scrolls. The entire body is covered with a rosewood veneer of 
exceptional freshness and delicate inlays of hollywood. The wavily 
shaped top is covered with a gilded and tooled leather pad and guarded 
by a gilded bronze mount. 


EIGHTEENTH CENTURY FRENCH NEEDLEWORK ARM- 
CHAIR 

Regence period. Gondoled front supported by gracefully curved and 
moulded cabrioles carved with acanthus. The front rail is furnished 
with a leaf-carved cartouche, voluted arms and moulded armrests; ex- 
tenuated back is shield-shaped, acanthus-carved and crested by a car- 
touche of uncommon composition; backs, seats, and arms are covered 
with contemporary petit and gros point needlework; the back by a 
reserve of the La Fontaine fable, ‘“The Fox and the Raven,” with the 
Raven clothed in a Parrot’s multicolored plumage. This reserve 
worked in petit point with gros point frames of Persian arabesques, on 
a pale green and cream ground. The seat is worked with similar 
arabesques interrupted by motifs of warriors, butterflies and an eagle 
with outspread wings. 


EIGHTEENTH CENTURY FRENCH MAHOGANY WRITING 
TABLE 

In the manner of Cosson. On turned tapering supports enriched with 
acanthus mounts; the body panelled with beaded bronze mouldings and 
furnished with a centre appliqué, after Clodion, of two amorini seated 
on floriated and grapevine volutes and festoons with enrichments of bird 
bodies. The dies are fluted with finely beaded fillets; circular berib- 
boned escutcheon plates. The top is guarded by a fretted bronze rail 
and acanthus leaf guard mouldings. 


229 


EIGHTEENTH CENTURY FRENCH CARVED AND ENAMELLED 
CHAISE-LONGUE BY JEAN BAPTISTE LELARGE 


[1105] 


1105 EIGHTEENTH CENTURY FRENCH CARVED AND EN- 
AMELLED CHAISE-LONGUE BY JEAN BAPTISTE LE- 
LARGE 

Louis Seize period. Made in one piece with bowed head crested by 
acanthus and carved with a boldly protruding ribbon motif; curved 
arms carved with husk and acanthus. The lower end is similarly 
shaped and carved. The gracefully serpentined seat rail is interrupted 
by rosetted dies; on six turned and tapering supports. The frame is 
enamelled in cream and covered with a rose du Barry flowered brocade 


and fitted with loose down cushion. (From the Earl and Dowager 
Countess of Essex) 


Jean Baptiste Lelarge, Rue de Clery, was admitted to the Paris Cor- 


poration, February 1st, 1775. He was chair-maker for the Chateau 
Fontainebleau. 


[SEE ILLUSTRATION | 


230 


1106 


1107 


1108 


1109 


EIGHTEENTH CENTURY FRENCH MARQUETERIE COM- 
MODE BY JEAN HENRI RIESENER, ABOUT 1780 
Louis Seize period. Rectangular body with blocked and curved front 
resting on four diagonally placed, tapering, square supports. The 
front is fitted with two long drawers and three cornice drawers and 
covered with reserves of holly and tinted wood marqueterie in patterns 
of wreath and bouquets of flowers on a figured citronnier ground sur- 
rounded by interlaced meanders of mahogany and borders of straight 
grain satinwood. ‘The cornice is marqueteried with guilloche design 
of exotic and tinted woods. ‘The returns bear handsome marqueterie 
panels of bouquets of roses. Wreathed drop handles and husk and leaf 
die appliqués. Original bréche violette top. 
Signed, with impressed mark: RiEsENER. 
For brief biography of Riesener, see Number 1138. 


EIGHTEENTH CENTURY FRENCH ORMOLU CLOCK BY 
BEURDELEY A PARIS 

Oval base supported by four turned legs. Front with inset panels of 

festoons, flowers and leaves. Surmounted by a circular clock case, on 

the left of which is a seated amour. 


TWO EIGHTEENTH CENTURY FRENCH BRONZE AND 
MARBLE THREE-LIGHT CANDELABRA 

Louis Seize period. In the form of draped female figures in bronze 

holding gilt torches from which spring two leaf and scroll carved centre 

lights connected by scrolls. On square bleu turquin marble bases, with 

inset reeded gilt bronze panels. (2) 


EIGHTEENTH CENTURY FRENCH ROSEWOOD LADY’S SEC- 
RETAIRE BY ANTOINE MATHIEU CRIARD 

Louis Quatorze period. Of the type favored by the Marquise de Pompa- 

dour. 

Straight front with gently gondoled returns, resting on four finely 

curved cabrioles. The front, returns, back and desk flap are panelled 

with reserves of diagonally laid lozenges of amaranth in frames of 

finely figured rosewood. Cabochon knee appliqués, sabots, key 

escutcheons and leafy handles. The interior is fitted with wavily 

formed shelves and small drawers, also a concealed compartment cov- 

ered by a slide. 

Signed, with impressed mark: A. M. Criarp, who became a Member 

of the Paris Corporation, April 11th, 1747. 


231 


1110 


ee 


1112 


1113 


1114 


EIGHTEENTH CENTURY FRENCH MARQUETERIE CEN- 

TRE WRITING TABLE SIGNED WITH A ROSE 
Louis Quinze period. On four cabriole supports furnished with richly 
gilded rocaille mounts. The body of amaranth is covered on four 
sides with interlaced marqueterie patterns stained green, surrounding 
rosettes of hollywood laid in a broad band of richly figured amboyna. 
One side is formed by a long deep drawer, which, on the interior, is 
fitted. with a desk slide covered with a pad of black Utrecht velvet. 
The moulded top is covered with a parqueterie pattern of hollywood 
and other woods stained olive-green, and a centre medallion of a bou- 
quet of garden flowers in holly and tinted woods on a figured burl- 
walnut ground. 


THE EARL OF MANSFIELD’S FRENCH NEEDLEWORK 
DRAWING ROOM SUITE 

Louis Seize period. Set of six armchairs, on fluted tapering supports 
with slightly bowed and incurved front rails; curved and fluted arms 
on columnar armrests rising from upturned laurel leaves. Shield- 
shaped backs with deeply moulded head rails, flanked by fluted full 
columns and crested by Prince of Wales’ feather finials. The frames 
are enamelled in cream heightened with gold and are covered with silk 
needlework embroidered with floral scrolled lozenges in gold and yellow 
and black on a cream ground. With their own early nineteenth cen- 
tury flowered glazed chintz slip covers. (6) 


THE EARL OF MANSFIELD’S FRENCH NEEDLEWORK 
DRAWING ROOM SUITE 

Louis Seize period. 

Settee to match the preceding. 


THE EARL OF MANSFIELD’S FRENCH NEEDLEWORK 
DRAWING ROOM SUITE 


Louis Seize period. 


Settee similar to the preceding and made to harmonize with the chairs. 


THE EARL OF MANSFIELD’S FRENCH NEEDLEWORK 
DRAWING ROOM SUITE 


Louis Seize period. Set of six armchairs similar to the preceding. (6) 


232 


11144 


11148 


1115 


1116 


SEVENTEENTH CENTURY VELVET AND EMBROIDERED 
CUSHION 

The centre part is composed of an embroidered panel representing a 

Priest and is worked in gold metal threads and brightly colored silks; 

on each side is a piece of red velvet. The backs are covered with red 

damask. 


SEVENTEENTH CENTURY VELVET AND EMBROIDERED 
CUSHION 

The centre part is composed of an embroidered panel representing a 

Priest, and is worked in gold metal threads and bright colored silks; on 

each side is a piece of red velvet. ‘The backs are covered with red flow- 

ered damask. 


EIGHTEENTH CENTURY FRENCH OCCASIONAL TABLE 

Late Louis Seize period. Rectangular body on tapering square sup- 
ports, fitted with one long drawer; top, aprons and supports inlaid with 
interlaced meanders and panels of natural and ebonized hollywood on 
a ground of rich rose-colored veneer; rosetted and drop ring handles. 


During the later days of Louis Seize an Anglophile vogue became fash- 
ionable in some circles of good society, notably amongst men who 
ostensibly wore English clothes and showed a penchant for English 
furniture. No doubt the genius of Hepplewhite has inspired the table 
described above. 


EIGHTEENTH CENTURY FRENCH MAHOGANY AND MAR- 
QUETERIE OCCASIONAL TABLE 
Louis Seize period. On four square slender tapering supports inlaid 
with fine bands of hollywood. The body is faced on four sides with 
oblong panels of parqueterie in tinted satinwood surrounded by bands 
of lighter wood stained green, and fitted with a drawer at one end. The 
dies bear corner festoons of gilded bronze, grapevine festoon key 
escutcheons. The top inlaid with emblems on a ground of mahogany 
with a meander band stained emerald-green and a broad band of 
straight-grain rosewood; fretted gallery. 


233 


Ley 


EIGHTEENTH CENTURY FRENCH MAHOGANY AND LAC- — 
QUER SECRETAIRE A ABATTANT 

Late Louis Seize period. Made in two portions, the lower part form- 
ing a table on square tapering supports with festoon flute enrichments 
connected by a galleried incurved shelf. The body is fitted with three 
panelled drawers furnished with cornucopia centre escutcheon and two 
beaded circular drop handles. Reeded die mounts; beaded guard rail. 
The upper portion is composed of a desk flap bearing in a panel a con- 
temporary insert of a Japanese lacquer painting of water-birds lac- 
quered in gold and silver surrounded: by trees with cherry-blossom 
branches in rose and gold on a mirror-black ground. The panel is 
flanked by fluted Ionic pilasters with finely chiselled and gilded bronze 
capitols. Panelled returns. ‘The interior is fitted with six drawers 
and one moulded centre door which conceals an interior drawer, all 
veneered with figured and straight-grain mahogany. There is a cornice 
drawer furnished with a cornucopia escutcheon and two circular drop 
handles finely engraved with vignettes of winged amoretti playing 
guitars. Original key with fretted crest of a bee. 


[SEE ILLUSTRATION | 


234 


EIGHTEENTH CENTURY FRENCH MAHOGANY AND 
LACQUER SECRETAIRE A ABATTANT 


[1117] 


HENRY BONE, R.A. 
1755-1834 


1118 ENAMEL PORTRAIT OF GEORGE WASHINGTON 

Full-length figure of the General, after the Lansdowne portrait by 
Gilbert Stuart, painted in 1779, cloaked in black with white lace ruffs 
and stock, standing near an elaborately carved writing table with a 
piece of crimson velvet thrown over the marble top; his right hand is 
uplifted in a gesture of speech, while his left holds the scabbard con- 
taining his sword. Background of a throne chair, a column, crimson 
draperies and a landscape beyond. 

The portrait is signed by the artist at the back, as follows: 

Henry Bone 
Hanover Street, Hanover Square 
Enamel, London 
Enamel Painter to His Royal Highness, The Prince of Wales 

In the original carved and gilded recessed moulded frame of the period. 


Henry Bone, the celebrated painter in enamel, was born at Truro, in 
Cornwall, in 1755. His first employment was with a manufacturer of 
china at Plymouth; he afterwards employed his talents at Bristol in 
painting landscapes and groups of flowers to ornament porcelain, by 
which means he acquired a thorough knowledge of that art, in which 
he became so eminent. He removed to London in 1779, and became 
distinguished by painting in enamel “The Sleeping Girl,” after Sir. 
Joshua Reynolds. But the works that will give him lasting fame are 
the “Portraits of Illustrious Englishmen,” eighty-five in number, which 
he enamelled after the original pictures in the royal and other collec- 
tions. These must have cost him much labor, expense, and anxiety; 
but brought him, unfortunately, little pecuniary reward. In 1811 he 
produced a copy in enamel (eighteen inches by sixteen) of Titian’s 
“Bacchus and Ariadne,” for which he received 2200 guineas. He was 
elected an Associate of the Royal Academy in 1801 and in the same 
year was appointed painter in enamel to George III. In 1811 he was 
made a full member of the Academy, and died in 1834, when his 


miniatures were dispersed by auction. 


[SEE ILLUSTRATION | 


236 


ENAMEL PORTRAIT OF GEORGE WASHINGTON 
BY HENRY BONE, R.A. 


[1118] 


LTS 


COMMODE OF SATINED CORALWOOD BY CLAUDE 
CHARLES SAUNIER, MOUNTS BY GOUTHIERE (FOUR- 
NISSEUR DES MAISONS ROYALES) 

Rectangular body in the simple form of the “Style a la Grecque.” 

The front panelled with fillets of bronze and broad and narrow bands 

of rosewood and fitted with two long and two short drawers, enhanced 

with angular and engraved rosetted drop handles and finely chased 
urn festoon scroll escutcheons and the appliqués of festooned trophies 
of the most delicate workmanship; the ovolo ends are of rosewood and 
fluted with fillets of gilded bronze with husk enrichments; bell-shaped 
turned feet guarded with finely wreathed bands of ormolu; two ovolo 
die panels of laurel wreaths and mascarons crested by acanthus. The 


- mounts are of entrancing beauty and originality in design. Returns 


resemble the face, with fluted pilasters enriched by husk mounts and 
rectangular beaded die panels. Original white and black marble slab 
guarded by shaped and fretted ormolu gallery. 

Illustrated in the July, 1922, issue of “The International Studio.” 


Claude Charles Saunier was the son of Jacques, an eminent cabinet 
maker under the Regence. He was admitted to the Corporation on 
July 31st, 1752. His work is well represented in the Wallace Collection. 


[SEE ILLUSTRATION ] 


238 


COMMODE BY CLAUDE CHARLES SAUNIER 
MOUNTS BY GOUTHIERE 


[1119] 


1120 CENTRE TABLE OF WEST INDIAN MAHOGANY BY GUIL- 
LAUME BENEMAN, FOURNISSEUR DE LA COURONNE. 
WITH BRONZE MOUNTS BY THOMIRE, ABOUT 1786 

Panelled on all sides with finely engraved and gilded leafy fillets of 
bronze and fitted, in front, with four drawers. ‘The chamfered sides 
are furnished with four caryatid supports composed of rectangular 
tapering shafts, enriched with guilloche mounts and faced by hand- 
somely modelled vine-clad and draped putto bodies. ‘The moulded top 
is guarded by a rosetted guilloche running border of gilded bronze and 
topped by a tooled and gilded morocco pad. 

Thomire’s mounts were cast by Forestier and gilded by Galle. 

Signed, with impressed mark: G. BENEMAN. 


Beneman was admitted to the corporation of master cabinet makers on 
September 8, 1785. His ateliers were in the Rue Forest. He was one 
of the celebrities during the last decade of the reign of Louis Seize. 
The prices of his cabinet work approached and often equalled the 
reward commanded by Riesener himself. It was a writing table like 
the one described above which established Beneman’s fame, a table com- 
missioned by the crown to stand in the king’s private apartments, near 
the celebrated “Bureau du Roi” of Riesener and Oeben. He was also 
honored by Marie Antoinette with a commission to furnish her private 
apartments at her newly acquired Palais de St. Cloud. 

To quote Lady Dilke: ‘Nothing can surpass the beauty of Beneman’s 
workmanship or the marvellous craft of those who collaborated with 
him in the production of the great commodes which were transferred in 
1772 from Fontainebleau to the Musée du Mobilier National, or of 
those triumphs of his skill which came into the Louvre from St. Cloud.” 
Beneman’s work, though independent in thought was, until the retro- 
spection exhibition in 1882, attributed to the skill of Riesener, but we 
have since learned to distinguish the two masters. No piece of furni- 
ture can be more illustrative of the pure style of Louis Seize than the 
writing table described herein, with its almost Spartan severity and its 
magnificent mounts relieving by their splendor the sombre surface of 


mahogany. 


[SEE ILLUSTRATION | 


240 


CENTRE TABLE OF WEST INDIAN MAHOGANY BY GUILLAUME 
BENEMAN WITH BRONZE MOUNTS BY THOMIRE. ABOUT 1786 


[1120] 


1122 


TWO CHIEN LUNG FAMILLE-ROSE CHINESE PORCELAIN 
TWO-HANDLED “FISH BOWLS” 

Bulbous bodies with upturned lips, furnished at two ends with unglazed 
and gilded lions’ masks and invested with an overglaze decoration of 
roses, blossomed bushes and flying birds in brilliant colored enamels of 
rose, rouge d’or and green, with running borders in two-tone turquoise- 
blue with rosettes and bands of gold and rouge d’or. The interiors 
bear flying goldfish painted in rouge d’or and detached sprays and 
butterflies. The upper rim with a relief of slip decoration of arabes- 
ques in reserves and meanders in multicolored enamels on a pale tur- 
quoise ground. (From the Summer Palace, Peking) (2) 


EIGHTEENTH CENTURY FRENCH NEEDLEWORK BER- 
GERE 

Walnut frame on curved cabriole supports with fan enrichments at 
knees, shaped and leaf-carved front rail, moulded and shaped arms, 
rounded moulded and flower-carved back. Back and seat covered with 
contemporary needlework, the back with a motif of Phaethon’s chariot 
in brilliantly colored petit point. ‘The seat with reserves of heraldic 
animals in petit point on a king’s blue ground, surrounded with multi- 
colored arabesques on a pale green ground. 


EIGHTEENTH CENTURY FRENCH LADY’S SECRETAIRE 
BY M. OHNEBERG 

Louis Seize period, in the style favored by Marie Antoinette. In two 
portions: the lower part framed with cabochon knee appliqués, fillets, 
and pieds de biche sabots. The rectangular body is covered with 
panels of parqueterie of holly and tinted woods on a rosewood ground. 
One centre drawer, furnished with cartouche key escutcheon and 
original chiselled gilded bronze key. The upper portion is supplied 
with a desk flap which conceals shelves and four drawers, panelled and 
veneered with richly figured rosewood surrounded by broad bands of 
satinwood, tinted to simulate green ivory, and narrow bands of holly- 
wood. 'The desk flap bears, on the reverse, a pad of purple morocco 
tooled with gilded scrolls. The interior is furnished with parqueterie 
surrounding an oval medallion with emblems of music laid in hollywood 
on a green ground. The returns are parqueted as well as the top, 
which is guarded by a fretted bronze rail. 

Signed, with the impressed mark: M. Ouneserc, who became a Mem- 


ber of the Paris Corporation, July 7th, 1778. His atelier wantin the 
Rue Traversiére St. Antoine. 


242 


EIGHTEENTH CENTURY FRENCH MAHOGANY COMMODE 
Dyes VR: Bb. 

Louis Seize period. On turned tapering supports, furnished with oak 
leaf chiselled mounts. Fluted ovolo sides and dies, furnished with 
gilded bronze grape and husk pendants. The rectangular body is fitted 
with three drawers, of which two bear leafy protruding handles and 
wreathed oval key escutcheon plates, while the other is panelled with 
a chiselled, rosetted guilloche bronze frieze. The returns are panelled 
with beaded gilded bronze mouldings and friezes similar to above. 
Shaped marble top of the period. Signed, with impressed mark: 
B. V. R. B. 


Lady Dilke, “French Decorations and Furniture in the XVIIIth Cen- 
tury,” page 161. 

“With I. Dubois must also be mentioned the remarkable artist who was 
responsible for the magnificent bureau which had belonged to the Abbé 
Terray, that we saw, in 1888, at the Exposition de l’Art Francais 
sous Louis XIV et Louis XV (No. 218, ‘Secrétaire de l’époque Louis 
XV en bois de violette, marqueterie de bois de rose, sur fond d’amarante, 
orné de bronzes dorés et ciselés, formant chutes, contrechutes, sabots 
et encadrement rocailles avec guirlandes de fleurs.—Signé B. V. R. B. 
ayant appartenu a labbé Terray.’ It was exhibited by Mme. la Com- 
tesse Terray, but is, I believe, now in the hands of Mme. Vinde.) It 
bore the initials B. V. R. B. These letters are still unexplained, but 
they are to be found on various other works, which, if not so important 
as this great bureau, are equally fine in style. Amongst these are the 
fine commode and the table equally superb, belonging to M. Rodolphe 
Kann, which show the same breadth of outline, the same masterly han- 
dling, which attest the after life of the ‘Style Louis Quatorze’.” 


EIGHTEENTH CENTURY FRENCH MARQUETERIE 
GUERIDON 

Louis Seize period. Probably by Leonard Boudin. Oval table on four 
slender finely tapering cabriole supports of figured amaranth wood, 
connected by a leaf-shaped tray occupied by a still life composition of 
delft vases and bottles laid in hollywood and heightened with color on 
amaranth and citronnier with bands of kinkwood. The broad apron is 
fitted with one side drawer and one candle slide and is marqueteried with 
a quatrefoil trellis pattern in colored and scorched woods. ‘The oval 
top bears a marqueterie picture of a most imaginative design of vil- 
lages amongst Roman ruins, bridges and a river with boats and ducks, 
all this laid in a great variety of tinted and scorched exotic woods with 
small squares of mother-of-pearl inserted to simulate window glass. The 
top is guarded by a fretted bronze rail. Festooned torch die and knee 
appliqués and scrolled sabots ; wreathed ring handles. 

Leonard Boudin became a member of the Corporation, March 4th, 1761. 


243 


1126 


ADMIRAL HOOD’S EIGHTEENTH CENTURY FRENCH MAR- 
QUETERIE COIFFEUSE BY ADRIEN FAIZELOT DELORME 
Louis Quinze period. On four chamfered cabrioles; rognon front; 
gently gondoled returns. Front apron fitted with one drawer and one 
shaped candle slide, the latter covered with its original jade-green 
morocco pad tooled with a Greek running border in gold. The top is 
made in the form of lozenges in three sections, of which the sides are 
hinged panels covered on the face with holly, tinted and scorched wood 
marqueterie of carnations on spreading branches. ‘The reverse with 
geometrically laid, richly figured amaranth; the centre panel acts 
upon an easel device serving as a stand for a dressing mirror with a 
hinged and shaped member as a rail; the surface is occupied by floral 
branches in a formal pattern tied with a ribbon in marqueterie similar 
to above. 
Signed, with impressed mark’ DELoRME, and the marqueteur’s mark 
EK. H. B. 
Adrien Faizelot Delorme became a member of the Paris Corporation, 


July 12th, 1748. : 
Admiral Samuel Viscount Hood (1724-1816), Lord Bridport, one of 


Britain’s most famous naval heroes, was midshipman on Rodney’s ship 
in 1748, lieutenant at the age of 22, and post-captain at 32. During 
his retirement from active service, 1778-80, he was Commissioner of the 
Dockyards at Portsmouth, but went to sea again under Admiral Rod- 
ney as second in command of the North American Squadron. Hood 
took part in several famous naval engagements in 1781-2, notably that 
of Dominica, for his share in which he was granted an Irish peerage. 
He was elected Member of Parliament for Westminster in 1784, and 
was appointed a Lord of the Admiralty. Four years later he took 
command of the British fleet in the Mediterranean, and in 1796 was 
made a viscount. He was especially strong as a tactician, and his 
junior officer, Horatio Nelson, acknowledged his indebtedness to him in 
that particular, and, upon his retirement, wrote: ‘The Fleet must 
regret the loss of Lord Hood, the best officer, take him altogether, that 
England has to boast of; great in all situations which an admiral can 
be placed in.” 


[SEE ILLUSTRATION | 


244 


ADMIRAL LORD HOOD’S LOUIS QUINZE FRENCH 
MARQUETERIE COIFFEUSE 


[1126] 


EIGHTEENTH CENTURY FRENCH TULIPWOOD AND MAR- 
QUETERIE “BONHEUR DU JOUR” BY PIERRE ROUSSEL 
(EBENISTE DU CABINET DE LA REINE) 

Louis Quinze period. Made in two portions, the lower part resting on 
four chamfered cabriole supports, the richly figured wood not hidden by 
knee appliqués; supports are connected by four-sided and shaped tray 
occupied by emblems in light and tinted woods on a scorched tulipwood 
ground. The body is serpentined on three sides, furnished with bor- 
ders of Chinese flower pots with spreading branches, and bears a centre 
drawer with writing fittings and a desk slide, the latter covered with 
its original sapphire-blue moire pad bound by finely tooled galoon. The 
upper part is moulded and bears again emblems of scorched and colored 
marqueterie. ‘The upper portion is formed by a cabinet with straight 
front and bowed back, fitted with two doors and one centre drawer; 
with moulded cornice and crowned by shaped wooden gallery. The cabi- 
net, as well as the rail, is covered with a great variety of double- 
handled flower urns, Chinese flower pots and bands of straight-grained 
rosewood. Rocaille escutcheons and original bronze key. 

Pierre Roussel was admitted to the Paris Corporation, August 138, 1771. 


[SEE ILLUSTRATION ] 


246 


EIGHTEENTH CENTURY FRENCH TULIPWOOD AND 
MARQUETERIE “BONHEUR DU JOUR” 
BY PIERRE ROUSSEL 


[1127] 


PHOTOGRAPH 
IN ARCHIVES 


1128 EIGHTEENTH CENTURY FRENCH ARCHITECT’S DRAWING 


TABLE BY GEORGES JACOB 
Louis Seize period. The rectangular body, covered with the richest ma- 


‘hogany and amaranth veneers, rests on four square tapering supports 


panelled with reeded bronze mounts; fluted dies are headed by circular 
engraved rosettes. The aprons are panelled with beaded bronze mould- 
ings and the front is fitted with a long drawer enriched with reeded 
bands of ormolu and furnished with uncommon festooned drop handles. 
The drawer bears, on the interior, a desk slide covered with the orig- 
inal gold tooled calf pad, which discloses fittings of three drawers with 
engraved bronze knobs and two sliding drawers. The top, guarded by 
a bronze moulding, is hinged to raise and form a draughtsman’s board 
and lectern on easel supports which are worked on adjustable brackets ; 
it is inlaid with a fine band of hollywood. 

Attention must be called to the perfection of cabinet work which has 
preserved the ingenious contrivance in perfect working condition up to 
the present day. 

Georges Jacob became a member of the Paris Corporation, September 
4th, 1765. 


[SEE ILLUSTRATION ] 


248 


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SOLO L OLE ERLAARE NEL LOL ODENL LLL LISS EEL LIEDER ASSIS 


EIGHTEENTH CENTURY FRENCH ARCHITECT’S DRAWING 
TABLE BY GEORGES JACOB 


[1128] 


1129 


Bc Sho De Gs 8 OS 0 5h @ Gs We 9) 0 Os |e Oo 015) 0 60s Oe Oi 0S 2 8s Oe G+ 0s 059018. @: Heh 
£15) 0 60 - Ds Gs 0S 0 55 < O2 Os Ce 9 Si 0102 Os ©3015) 929 OO) 2.08 0 28. OO Oks 88 OB. 


sh gsi Sap Nas IP SRR RIES RBC SNR CRB B RE 


[1129] 


EIGHTEENTH CENTURY FRENCH CORALWOOD AND MAR- 
QUETERIE ENTRE-DEUX BY ETIENNE LEVASSEUR 
Louis Seize period. On four tapering and fluted turned supports, flutes , 
panelled with brass members; finely engraved, reeded and beaded 
mounts. Supports connected by a shaped tray guarded by fretted 
bronze rail, and covered with a coffered parqueterie of satined coral- 
wood and thuyawood, with small lines of hollywood. . The shaped apron 
bears one centre drawer and is panelled with egg and leaf chiselled 
bronze mounts; dies occupied by square oak leaf rosettes. Original 
white marble top guarded by moulded and fretted bronze gallery. 


Attention must be drawn to the careful workmanship displayed in this 
table. 


Etienne Levasseur, Faubourg St. Antoine, was admitted to the Paris 
Corporation, December 17th, 1766. He became Fournisseur du Petit 
Trianon et des Maisons Royales and was considered amongst the fore- 
most ebénistes of his time. Braving the opposition of the ultra-con- 
servatives and the danger of being called an Anglophile, he was one of 
the first to achieve effects of serene dignity by applying mahogany 
veneers to large surfaces. 


[SEE ILLUSTRATION | 


250 


EIGHTEENTH CENTURY ROSEWOOD COMMODE 
BY I. DUBOIS 


[1130] 


11380 EIGHTEENTH CENTURY FRENCH ROSEWOOD COMMODE 
BY I. DUBOIS | 

Louis Quinze period. Bomb body covered with diagonally laid rose- 
wood veneer in shaped panels with enrichments of tinted floral mar- 
queterie sprays and surrounded by fine lines of hollywood and veneers 
of amboyna wood. The lines of the panels are closely followed by richly 
chased scroll and cartouche mounts which give the impression of archi- 
tectural perfection. The key escutcheons are carefully placed as parts 
of the pattern. The gracefully curved cabriole supports are faced 
by cabochon scroll knee appliqués superbly composed and terminating 
in husk patterns and finely moulded scroll feet. 
The reference to Dubois’ table at Hertford House made by Lady Dilke, 
Page 202, may be readily applied to this magnificent commode. (For- 
merly owned by the Dowager Countess Howe) 


[ SEE ILLUSTRATION | 


251 


1131 


EIGHTEENTH CENTURY FRENCH TULIPWOOD SECRE- 
TAIRE A ABATTANT BY ADRIEN FAIZELOT DELORME 
Louis Quinze period. Upright case with front and sides moulded with 
an uncommon undulation, the front fitted with a long desk flap, one 
book slide and two drawers, the latter concealing fittings of oak, 
shelves and one panelled door. The desk flap uncovers a system of 
four drawers and a number of pigeonholes of figured rosewood. The 
front is designed to appear as a médaillier, with richly figured veneers 
laid in squares of tulipwood sectioned by borders of thuyawood and 
stiles of straight-grain hollywood. ‘The returns are similarly veneered. 
Each panel is furnished with a rose of gilded bronze in high relief and 
baroque escutcheons magnificently chiselled with motifs of flying eagles, 
roses and rocaille leaves. The desk slide bears a handle with a pro- 
truding head of a grotesque. The sides are completely covered with 
ovolo gilded bronze columns of the Corinthian order, fluted and enriched 
with climbing oak leaves and flowered fruit festoons. The base is made 
entirely of gilded bronze mounts with feet of voluted cartouches and 
aprons composed of horizontal floral garlands centering upon a baroque 
shell. Original moulded red griotte marble top. Original steel key 
crested by the full armorial bearings of the Comte de Desure de Chavi- 

gny de Planchoury. 

The successful and independent effort to conceal the unconventional 
form of the secrétaire a abattant places this desk amongst the most de- 
sirable pieces of French ébénisterie. 

Adrien Faizelot Delorme became a member of the Paris Corporation, 
July 12th, 1748. 


[SEE ILLUSTRATION | 


252 


LOUIS QUINZE FRENCH TULIPWOOD SECRETAIRE 
A ABATTANT BY ADRIEN FAIZELOT DELORME 


[1131] 


1132 


THE EARL OF STRATHMORE’S EMBROIDERED LOUIS 
SEIZE DRAWING ROOM SUITE WITH FRAMES BY GUIL- 
LAUME BOUCAULT 

Comprising six armchairs and a settee. On moulded cabrioles con- 

nected by undulated and guilloche carved seat rails which are enriched 

with festooned rosettes; bowed back carved similarly and crested with 
emblems of love-birds, moulded and voluted arms. The seat is framed 
by an uncommon moulded and guilloche carved rail; backs and seats 
covered with Gobelins embroidery composed of a great variety of 
stitches and depicting groups of spiritedly drawn figure subjects; 
French Chinese personages, rustics, gallants, grotesques and other fig- 
ures suggestive of the Italian comedy dressed in minutely worked lace 
costumes among tropical trees and flowers and balustrades worked in 
multicolored softly shaded silks on a cream ground. The six arm- 
chairs are on scrolled and voluted cabriole supports with gracefully ser- 
pentined and acanthus-carved seat rails; moulded shield-shaped backs, 
voluted arms and finely fluted scroll armrests. The seats and backs 
are covered with Gobelins embroideries; the seats with bear-tamers, 
rustic dancers, musicians, mountebanks and buffoons; the figures worked 
in brightly colored ribbon stitch flanked by climbing baroquely scrolled 
flower bushes and an infinite variety of imaginative subjects all worked 
on a cream silk ground. The backs are all composed of flower vases 
filled with spreading flowers in full bloom, each designed in an inde- 
pendent manner in greens, orchids, and golden tans. The arm pads 

are done in a delightful trellised silk embroidery. (7) 

The maker of these exceptionally fine frames, Guillaume Boucault, was 

admitted to the Paris Corporation, December 17, 1776. 


[SEE ILLUSTRATIONS | 


254 


Be ES EE 


THE EARL OF STRATHMORE’S EMBROIDERED LOUIS SEIZE 
DRAWING ROOM SUITE 


[1132] 


THE EARL OF STRATHMORE’S EMBROIDERED LOUIS SEIZE 
DRAWING ROOM SUITE 


[1132] 


11338 


1134 


11385 


1136 


EIGHTEENTH CENTURY FRENCH ROSEWOOD LADY’S 
SECRETAIRE BY C. CORDIE 

Made in two portions: the lower supported by slightly cabrioled cham- 
fered legs with leaf-carved sabots. The apron is fitted with two small 
drawers and veneered with rosewood and inlaid with bands of satin- 
wood. The returns are panelled in a similar manner. Hinged top 
forming a writing pad with original green morocco tooled leather cov- 
ering. Fitted on each end with two doors and in the centre with a slide, 
each enclosing a compartment. The upper part is composed of a tam- 
bour front cabinet, below which are two small drawers and one pigeon- 
hole. The returns, reverse and top part inlaid in a manner similar 
to the lower. 


EIGHTEENTH CENTURY FRENCH ORMOLU CLOCK BY LE 
NEPVEU AU PARIS 

The shaped stand is supported by four turned feet and inset in the 

front and at the sides with panels of gilt bronze in a scroll and leaf 

design. Drum case supported by draperies. On the left is a warrior 

and on the right a winged amour holding a flag. 


TWO EIGHTEENTH CENTURY BRONZE AND MARBLE 
THREE-LIGHT GIRANDOLES 

Louis Seize period. In the form of draped female figures in bronze, 
holding cornucopie which support three scroll and leaf-carved arms 
from which hang festoons. From the centre arises an urn with leaf- 
carved supports draped with festoons on drum-shaped bleu turquin 
marble pedestals, with festoons of leaves and flowers carved in relief ; 
on square gilt bronze stands. (2) 


EIGHTEENTH CENTURY FRENCH ROSEWOOD AND MAR- 
QUETERIE GUERIDON 
Louis Quinze period. On chamfered cabriole supports gracefully taper- 
ing into cabochon sabots, connected by leaf-shaped tray covered with 
a rosetted and diapered marqueterie of citronnier, hollywood and bands 
of tinted jade-green and of straight-grain tulipwood. The oval body 
is similarly adorned, and fitted with one centre drawer. Bronze die ap- 
pliqués of a honeysuckle pattern. The top bears a rosewood border 
surrounding a tooled leather pad and is guarded by a fretted gallery. 


256 


EIGHTEENTH CENTURY FRENCH MAHOGANY AND 
MARQUETERIE CENTRE WRITING TABLE 
ATTRIBUTED TO ETIENNE LEVASSEUR 


[1137] 


11387 EIGHTEENTH CENTURY FRENCH MAHOGANY AND MAR- 
QUETERIE CENTRE WRITING TABLE, ATTRIBUTED TO 
ETIENNE LEVASSEUR 

Louis Seize period. On four tapering square supports enriched with 
oak leaf pendants, finely engraved fillets, spade sabots and capitols of 
an uncommon acanthus pattern; festooned dies. The front is fitted with 
three drawers panelled with beaded bronze baguettes and occupied by 
diapered marqueterie of hollywood, rosettes, and bands and meanders 
of thuyawood. The drawers are sectioned by panels of satinwood with 
magnificently designed mounts of festooned and rosetted cartouche key 
escutcheons. ‘The reverse and returns are composed in a similar vein. 
Original gilded and richly tooled dark brown morocco pad and moulded 
bronze guard. 


Levasseur was admitted to the Corporation, December 17th, 1766. For 
brief account cf the importance of Levasseur vide note following Num- 
ber 1129. | 

[SEE ILLUSTRATION | 


257 


1138 BUREAU A CYLINDRE BY JEAN HENRI RIESENER 
A rosewood and marqueterie secrétaire, in outline almost identical with 
the celebrated Bureau du Roi made for Louis Quinze by order of the 
Marquise de Pompadour. 
Signed, under marble slab, with impressed mark: J. H. Riesener. 
It is made in two portions. The lower part forming a maitre ébéniste 
kneehole table, faced on two sides by motifs of covered urns in scorched 
woods on a reserve of citronnier, framed by bands of thuyawood and 
satinwood and surrounded by diagonally laid veneers of rosewood. The 
centre is furnished with a finely drawn landscape with figures and 
houses in exotic and tinted woods with bands of thuya and holly wood 
inlaid on a ground of amaranth. Five drawers. The kneehole is out- 
lined with inlays of gilded bronze; supports of chamfered and incurved 
cabrioles enriched with bronze mounts and dragon-claw sabots. ‘The 
chamfered ends bear guilloched and festooned torch appliqués; these 
mounts are designed by Martincourt. 
The upper portion bears a cylindrical desk slide covered with a car- 
touche of emblems laid in tinted woods with a lavish application of 
thuya and holly woods, also two reserves with trophies on a ground 
of geometrical inlays of rosewood; gilded acanthus-leaf handles. 
The interior is fitted with a system of drawers and pigeonholes richly 
marqueteried to harmonize with the exterior. ‘The cylindrical portion 
is headed by an entablature fitted with one centre drawer and covered 
with a rich veneer of amaranth interrupted by a meander border of mar- 
queterie and furnished by cornice mounts of acanthus; a fretted gallery 
guards, on three sides, a bleu turquin d’Italie marble slab. 
Illustrated and described in the July, 1922, issue cf ‘The Interna- 
tional Studio.” 


Jean Henri Riesener, the most celebrated cabinet maker of his time, was 
born at Gludbeck near Cologne in 1725. He emigrated to Paris as a 
young man and was first heard of as working at the Gobelins under the 
renowned Jean Frangois Oeben, purveyor to the Marquise de Pompa- 
dour. He is mentioned in the inventory drawn at the time of Oeben’s 
demise in 1767, as “Premier Garcon”—Foreman. 

In the same year Riesener married Oeben’s widow and took full pos- 
session of a plant then at the Arsenal, which had become a treasure 
store of rare woods, rich veneers, and magnificent bronze mounts, plans 
and maquettes by the illustrious designers of the time, and the nearly 
finished “Bureau du roi,” which in 1769 was delivered to the king at 
Versailles. “This desk of all desks,” bearing Riesener’s signature, its 
incomparable marqueterie, color, bronze mounts and the ingenuity of 
the newly designed ‘roll top” device found a host of admirers, and 
Riesener received numerous orders from the Dauphine, foreign sover- 
eigns and wealthy bourgeois to execute similar bureaux, of which the 
above described is a particularly sumptuous example. In 1767 Riesener 


258 


had become a maitre ébéniste and a member of the corporation. Nine 
years later, in 1776, we can judge the royal and popular esteem given 
to his creations by his stupendous fortune of 504,571 livres (stated in 
his second marriage contract) not including his artistic and other 
properties. 

For nearly twenty-five years Riesener towered above his rivals and none 
of the vagaries of public fancy could induce him to lower his artistic 
standard. The private apartments of the Queen at Trianon and Ver- 
sailles abounded in secrétaires, commodes, and tables signed by the 
master for whose genius the Queen showed a fervent admiration. 

The Revolution and the passing of that poetic luxury which graced 
human life during nine-tenths of the eighteenth century dethroned also 
the king of the cabinet makers. He died in 1806, a poor man. 


| SEE FRONTISPIECE, IN COLORs | 


259 


11389 EIGHTEENTH CENTURY FRENCH BRONZE AND MARBLE 
MANTEL CLOCK MADE BY LECHOPIE, PARIS. BRONZES 
BY SAINT GERMAIN 

Louis Seize period. Circular porcelain and calendar dial surrounded 
by finely chased ormolu rim resting on voluted brackets of white mar- 
ble with bead and oak-leaf enrichments in gilded bronze, and floral gar- 
lands rising from the centre of the volutes. Oblong moulded marble 
hase with panels of fretted and scrolled mounts and marguerite rosettes ; 
the brackets are flanked by mermaid bodies, bear finials of Gallic cocks 
with outspread wings and are crested by a group representing Diana, 
the Huntress, with putto, hound and emblems. 


[SEE ILLUSTRATION | 


260 


EIGHTEENTH CENTURY FRENCH BRONZE AND MARBLE CLOCK 
BY LECHOPIE, PARIS. BRONZES BY SAINT GERMAIN 


[1139] 


1140 


EIGHTEENTH CENTURY FRENCH MARQUETERIE GUERI- 
DON (LADY’S WRITING TABLE) BY NICHOLAS LAN- 
NUIER, WITH ITS ORIGINAL “PATE TENDRE” SEVRES 
PLAQUES 

Louis Seize period. Oval body occupied on four sides by porcelain me- 

dallions designed and made for* this table at the Royal factory of 

Sevres. They are rectangular in shape and painted in the Queen’s 

favorite pattern of detached rosebuds on a white ground with a border 

of bleu de ciel and lines of gold. The panels are surrounded by frames 
on gilded bronze finely chased with acanthus, and they are flanked by 
vertical marqueterie panels of rosetted guilloche and Greek borders in 
holly, tulip and tinted woods. Die panels with bronze fruit festoons in 
low relief. The tapering and fluted supports are furnished with fillets 
of husks and are connected by an oval tray marqueted with meanders 
and rosettes on rosewood and guarded by richly chiselled fretted rail. 

Similar marqueterie appears on the oval top which is guarded by a 

guilloche baguette of gilded bronze. ‘The apron is fitted with one deep 

drawer with writing compartments and the original silver ink and sand 
bottles and a shaped slide. 


Nicholas Louis Cyrille Lannuier, Rue St. Thomas du Louvre, was ad- 
mitted to the Paris Corporation, July 23rd, 1783. He was renowned 
as a maker of “tables mécaniques” (secrétaires). ‘The table above de- 
scribed closely resembles the jardiniére belonging to Alfred C. de Roth- 
schild, Esq. and illustrated in Seymour de Ricci’s book, page 94. 

The above table was illustrated in the July, 1922, issue of “The Inter- 
national Studio.” (yw 


ys * 


‘ 4 


[SEE ILLUSTRATION | 


262 


\t Be 


ae ERMA SM 


ts 


be 
2 
5 


iS 


EIGHTEENTH CENTURY FRENCH MARQUETERIE GUERIDON BY 
NICHOLAS LANNUIER, WITH ITS ORIGINAL “PATE TENDRE” 


SEVRES PLAQUES 
[1140] 


1141 


EIGHTEENTH CENTURY FRENCH SERRE-BIJOU, WITH 
LARGE “PATE TENDRE” SEVRES PLAQUE BY PITHOU 
LE JEUNE 

Louis Seize period. Made in two portions: the upper panelled and 
occupied by a plaque of “Pate Tendre” (soft paste) Sevres porcelain 
of great rarity and unusual size. This painting on porcelain depicts 
the Comtesse du Barry, dressed ‘*a la 'Turque” in ample oriental gar- 
ments of gray and rose, holding in her right a nargileh, seated on a 
dais covered with huge brocade cushions and her feet resting on an 
oriental rose-colored carpet. She is surrounded by attendants, also in 
oriental costume, and servants with trays and refreshments. To the 
right and left are trees and balustrades with urns filled, one with a 
fruit-laden orange tree, another with azaleas in bloom; applied in 
softest multicolored enamels. 'The porcelain panel is framed in a broad, 
engraved bronze baguette and is topped by a panel of parqueterie. It 
is flanked by protruding fluted Doric pilasters with engraved bronze 
plinths and capitols. The returns are panelled with bronze mouldings 
surrounding parqueterie patterns on a body of richly figured satin- 
wood; one side is fitted with a door. The lower portion rests on slender 
tapering supports fluted with light and dark woods and enriched with 
engraved bronze mounts. ‘The returns are panelled with marqueterie, 
the front occupied by a shaped parqueted key panel. Interlaced ribbon 
stretcher. Original shaped bleu turquin marble top, with fretted and 
engraved gallery. 


[SEE ILLUSTRATION | 


264 


4 
® 
A 
$ 


EIGHTEENTH CENTURY FRENCH SERRE-BIJOU, WITH LARGE 
“PATE TENDRE” SEVRES PLAQUE BY PITHOU LE JEUNE 


[1141] 


1142 TWO EARLY EIGHTEENTH CENTURY FRENCH ROSEWOOD 
AND MARQUETERIE ENCOIGNURES 

Regence period. Serpentine front fitted with a door covered with a de- 
sign of bouquets of flowers, tropical birds in precious and colored exotic 
woods, framed with scrolled bands of satinwood and kingwood, shaped 
sides inlaid in similar manner, on a bracketed base in rich scroll ap- 
pliqués and scroll shoes. Bronze key escutcheons. Shaped Griotte mar- 
ble tops. (2) 


[1143] 


1143. EIGHTEENTH CENTURY FRENCH GUERIDON AND WRIT- 
ING TABLE 

Louis Quinze period. On slender chamfered cabriole supports with 
husk inlays on a ground of citronnier with bands of thuyawood and 
ebony; scroll bronze sabots and leaf and husk knee appliqués. ‘The 
supports are connected by leaf-shaped tray marqueted with colored 
and scorched exotic wood reserves on a rosewood ground. The oval 
body is similarly treated and fitted with one long drawer with writing 
pigeonholes at one end and a book slide covered with tooled morocco 
pad in the centre. Original richly figured Languedoc marble top with 
fretted bronze rail. | 


[SEE ILLUSTRATION | 


266 


1144 


1145 


1146 


11464 


EIGHTEENTH CENTURY FRENCH ROSEWOOD AND MAR- 
QUETERIE COMMODE 

Louis Quatorze period. Kettle-shaped body with gracefully serpentined 
front covered with a helly and tulip wood vencer pattern of a flower 
urn with spreading rose branches on amaranth veneer, laid diagonally 
and framed by broad bands of rosewood which cover the shaped return. 
The chest is fitted with two long and two short drawers of various 
sizes furnished with gilded uncommon bronze escutcheon plates of 
rocaille shell pattern with cresting of the Este Eagle; with its original 
Languedoc marble top. 


EIGHTEENTH CENTURY FRENCH DRESDEN PORCELAIN 
AND ORMOLU CLOCK 

Shaped leaf and scroll carved base upon which stand a male and female 

figure of Dresden porcelain. At the back is a clock in a leaf-carved 

and shell case, on either side of which is a tree holding various colored 

porcelain flowers. On either side of the figures is a bobéche and candle 

holder in a fretted, flower and leaf design. 


TWO EIGHTEENTH CENTURY CHINESE CELADON GREEN 
PORCELAIN DRUMS 

On English ormolu stands of the Georgian period. Cylindrical bodies 
simulating drum-shaped caskets with studded rims invested with a bril- 
hant transparent celadon glaze. The stands of four sphinx bodies with 
egg and leaf members, and a base of red porphyry. The centre is 
enriched with a belt of festoon and lion mascarons. On the top appear 
Foo Dogs invested with multicolored enamels, resting on engraved 
draperies in folds. (2) 


GIOVANNI CIPRIANIT, R.A. 


ANGLO-ITALIAN, 1727-1820 


FOUR SEASONS 

Four oval medallions painted on canvas, each occupied by single female 
figure, draped in classic garb, in postures and with emblems character- 
istic of the seasons of the year. 

These panels, designed for an English hall of the Adam period, were 
engraved by Bartolozzi. 


267 


1147 


1148 


1149 


1150 


EIGHTEENTH CENTURY FRENCH GUERIDON 

Louis Quinze period. On gracefully curved cabriole supports enriched 
by finely gilded beaded ormolu mounts terminating in cabochon sabots 
and crested by a shield-shaped rosetted appliqué. ‘The gondoled front 
ss fitted with three drawers furnished with richly gilded and chased lyre- 
shaped escutcheon plates. The entire body is of rosewood panelled 
with broad bands of coralwood and narrow bands of thuyawood. The 
shaped top is covered with its original morocco pad, guarded by bronze 


rail. 


EIGHTEENTH CENTURY FRENCH ROSEWOOD GUERIDON 
Early Louis Seize period. On chamfered cabriole supports furnished 
with voluted bronze mounts at the knees and moulded fillets terminating 
in leaf-enriched pieds de biche sabots. The front is fitted with three 
drawers furnished with reeded drop handles and panelled with acanthus- 
leaf mounts; front returns and top are covered with a parqueterie 
pattern of holly and rose wood. The sides bear acanthus and husk 
festoon appliqués; the top a fretted bronze guard rail. 


EIGHTEENTH CENTURY FRENCH PARQUETERIE LADY’S 
SECRETAIRE BY ABRAHAM HOFFMANN 
Louis Quinze period. Gently flaring and arched front, gondoled re- 
turns and back, resting on four finely tapering cabrioles. The front is 
fitted with one long and two small drawers enriched with protruding 
rectangular and shaped panels. The hinged desk flap is shaped at the 
top and uncovers a cabinet of four serpentined drawers, shelves and 
pigeonholes and a concealed compartment. The entire body is covered 
with an uncommon tulip and holly wood veneer of parqueterie patterns 
with the exterior of the desk flap bearing a trellised cartouche designed 
to simulate a wrought-iron transom, through which can be seen coffer- 
ings in light colored wood. Rocaille key escutcheons and sabots. 
Finely chased fretted gilded bronze handle. 
Signed with impressed mark:—A. H., M. E. (Abraham Hoffmann, 
maitre ébéniste). 
Abraham Hoffmann became a member of the Corporation of Master 
Cabinet-Makers, November 27th, 1776. He was renowned for his skill 
in laying marqueterie mosaics and also as a sculptor. In 1778 he be- 
came ‘‘Fournisseur des Batiments des menus plaisirs.” 


EIGHTEENTH CENTURY FRENCH ROSEWOOD AND MA- 
HOGANY COMMODE 

Louis Quinze period. Bow front fitted with three drawers; leaf and 

scroll carved panel and handles; flowered shell and scroll carved key 

escutcheon plates. ‘The returns in a similar manner. Leaf-carved 

sabots. Richly figured brown and white marble top. 


268 - 


1151 


1152 


11538 


EIGHTEENTH CENTURY FRENCH MAHOGANY WRITING 
TABLE 

Louis Seize period. On tapering fluted turned supports headed by 
bronze rings; the body is panelled with finely beaded bronze mounts 
surrounding veneers of picked citronnier; the front bears one drawer 
containing a desk slide of citronnier furnished with a tooled and gilded 
green morocco pad of unusually beautiful color and with compartments. 
The drawer is oak-lined. The top is furnished with a guard rail 
patterned with vase-shaped balustrades. 


EIGHTEENTH CENTURY FRENCH MARQUETERIE COM- 
MODE BY FRANCOIS REIZELL 

Louis Quinze period. Blocked and shaped front with chamfered sides 
and gently curved cabriole supports. The front is fitted with two long 
drawers and covered with marqueterie motifs of unusual imagination 
and gayety; the centre with musical trophies of hollywood and 
amaranth, with ribbons and leaves tinted bright green laid as reserves 
on an amaranth ground with interlaced meanders and bands to simulate 
green ivory; this panel is flanked by two others designed with flower 
urns above, which are suspended from festooned draperies of scorched 
hollywood enlivened by leaves tinted bright green; above are narrow 
trellis bands holding motifs of quatrefoil on an olive-green ground. 
The returns are covered with similar marqueterie, while the stiles are 
veneered with uncommon reserves in pennant form which, as well as on 
the supports, are laid with precious woods in herringbone pattern. 
Finely gilded cabochon shoes and rosetted ring drop handles. Original 
moulded noire antique marble top. 

Signed, with impressed mark: Francois REIzEvt, (Maitre Ebéniste), 
who became a Member of the Paris Corporation, February 29th, 1764. 


EIGHTEENTH CENTURY FRENCH ROSEWOOD LIBRARY 
TABLE 

Louis Quinze period. On gently cabriole supports veneered with 
straight-grain rosewood and furnished with scroll and leaf carved gilded 
bronze knee appliqués and terminating in “pied de biche”? sabots. 
Slightly curved front with three drawers covered with a straight and 
figured rosewood veneer and furnished with leaf and scroll carved pro- 
truding handles. The reverse bears three jib drawers and is similarly 
veneered and mounted. The returns bear a scroll, leaf and flower carved 
motif. he shaped top is covered with a black morecco pad with a 
tooled scroll and leaf border, and is surrounded by a band of rosewood, 
guarded by a gilt bronze moulding. 


269 


1154 


1155 


LARGE EIGHTEENTH CENTURY LOUIS SEIZE FRENCH 
AUBUSSON CARPET WOVEN BY THE CELEBRATED 
MASTER WEAVER W. CHOCQUEEL 

The centre worked in a design of a wreath in grisaille and surrounded 

by a conventioné alized design of festoons of leaves, flowers and scrolls 

worked in white on a rose gr ‘ound, the whole surrounded with a scroll 
border. The outer border is composed of oval and hexagonal medal- 
lions of flowers with motifs of two-handled urns on either side; these 
are worked on a ground decorated with leaves and scrolls in grisaille. 


Signed, Mre (Maitre) W. CHOCQUEEL. 
Size, 23 feet 8 inches x 17 feet 9 inches. 


TWO EIGHTEENTH CENTURY FRENCH MARQUETERIE 
ENCOIGNURES BY JEAN FRANCOIS OEBEN 

Louis Quinze period. The body is covered with a finely figured veneer 
of rosewood. The bowed fronts are fitted with two doors occupied by 
a shell-shaped reserve of colored marqueterie designed with a bouquet 
of spreading garden flowers and branches with tropical birds and but- 
terflies perched upon them, the stems tied with a ribbon, on a ground 
of coralwood. The outlines of the reserve are closely followed by 
scrolled and gilded rocaille mounts. Each door bears a finely chiselled 
key escutcheon. The protruding sides are gently cabrioled and are 
furnished with fretted knee appliqués and scrolled sabots. Original 
Languedoc marble top. | 
These cabinets illustrate the perfection of color achieved in the veneers 
of this greatest disciple of Boule. (2) 


270 


1156 EIGHTEENTH CENTURY FRENCH AUBUSSON TAPESTRY 
DRAWING ROOM SUITE: SET OF TEN CHAIRS AND ONE 
SETTEE 

Louis Seize period. On tapering fluted supports, bold rim carved 
front; carved shield-shaped back; sloping arms and armrests. Backs 
and seats covered with Aubusson tapestry designed with oval floral 
vignettes with interlaced festoon draperies falling from a_tasselled 


canopy done in soft rose-greens, blues and golden-yellows on a cream 


ground. (11) 


A 


1157 EIGHTEENTH CENTURY MARQUETERIE BUREAU A 
CYLINDRE 

Early Louis Seize period. Rosewood body on gently curved cabriole 
supports, slightly gondoled and flaring front fitted with three drawers. 
Each cupboard with parqueterie veneers of kingwood and others tinted 
green and furnished with cartouche escutcheon key plates in the classi- 
cal taste. ‘The drawers are headed by a slide with two leaf pull 
handles, which act upon a cylindrical cover occupied by a marqueterie 
motif in colored scorched and tinted woods of a Mediterranean harbor 
scene with tall fortresses and a frigate in the background and a variety 
of small figures in the foreground, framed in interlaced bands of satin- 
wood and flanked by two reserves of floral brocades on a tulipwood 
ground. The returns are gondoled and covered with parqueterie 
veneers as well as thealome top, guarded by a fretted bronze rail. 


1158 SIXTEENTH CENTURY BRUSSELS TAPESTRY BY GUIL- 
LAUME DE PANNEMAKER: “FROM THE SIEGE OF TROY” 
The centre is occupied by the upstanding figure of Achilles bending over 
Hector’s body. Achilles appears in gold and crimson armor with 
feather-crested helmet. To the left are Greek horsemen and warriors 
on foot in magnificent armor of crimson, green, blue, and gold. To the 
upper right is laid a harbor scene with the burning fortress and villages, 
turreted castles, and the sea filled with the ships of a war fleet manned 
with soldiers carrying spears, some at full sail, others resembling gon- 
dolas and row boats of the type used in the Middle Ages. Woven in 
bright multicolored silk. Broad and exceptional border on four sides 
with flower urns resting on caryatid scrolls. The top and bottom also 
with vignettes of formal gardens in which can be seen figures carrying 
water jugs and a war hunt with warriors in medieval costume, the sides 
with vignette of a festive boat ride, with the bow of the ship designed as 
an arbor with eight small figures in richly colored costumes, and another 
of a royal hunt with a falcon, both in frames of ribbon-clad colonnades ; 
the top with allegorical figures and a canopy and the bottoms with two 
seated figures holding a lute and a lyre surrounded by emblems of music 
and symbolic animals. The blue galloon is signed with the Brussels 
mark and the monogram G. de P. Size, 14 feet x 15 feet. 


271 


1159 


TWO EIGHTEENTH CENTURY FRENCH ORMOLU CARTELS 
BY GODEFROY 

Louis Quinze period. Circular porcelain dials surrounded by magnifi- 
cent rocaille scrolls with floral wreath enrichments upon which are 
reclining spirited modelled winged putti. ‘The crestings are occupied 
by groups representing the Huntress Diana seated under a bush of 
boldly spreading leaves. The drum, concealing the movement, is fretted 
and engraved. Original fire gilding. (2) (Formerly owned by Lady 
Lucas ) 


[SEE ILLUSTRATION | 


272 


TWO LOUIS QUINZE ORMOLU CARTELS BY GODEFROY 
| [1159] 


WAINSCOT OF SEVENTEENTH CENTURY CUT AND UNCUT 
VELOURS A RAMAGES 


[1160] 


1160 


WAINSCOT OF SEVENTEENTH CENTURY CUT AND UNCUT 
VELOURS A RAMAGES 

Louis Quatorze period. Genoese “chiselled” velvet panels, made for 
Charles II of England, done in two-tone emerald-green in designs of 
canopied pavilions composed of turreted Ionic columns supporting 
domes framing bold sunflower patterns and surrounded by climbing 
marigold branches. Arched and scroll-enriched pediment border. The 
lower design is composed of points with a wealth of cut and uncut leaves 
and flowered branches, some with quatrefoil and some with scroll petals; 
the whole done on a cloth of gold ground, each panel trimmed with its 
original tasselled silk galloon. (From the Baroness Zouche of Haryng- 
worth, England) 

The unusually imaginative design and the large and “usable” quantity 
of this extraordinary fabric make these hangings compose a wall coy- 
ering of entrancing beauty. 


[SEE ILLUSTRATION | 


274 


f 


LILLE HAUTE-LISSE TAPESTRY BY GUILLAUME WERNIER 
ABOUT 1780 


[1161] 


“aa ¢ Ww Ane AE 


yy 161 LILLE HAUTE-LISSE TAPESTRY BY GUILLAUME WER- 


NIER, ABOUT 1730 

Don Quixote appears in a full suit of armor bidding farewell to Sancho 
Panza, who is about to depart for the “Islas Asnarias,” as their newly 
appointed governor. He wears rose-colored hose. Sancho Panza is 
stooping before him with a sanctimonious expression. He is covered 
with a superb rose-colored cloak and holds in his hand a turban of the 
same tint dressed with a white ostrich feather. Beyond are knights and 
ladies flanking Rosinante, the sumptuously caparisoned charger of Don 
Quixote who is turning her back on the onlookers. To the left are 
trumpeting heralds on horseback, guards, and peasants grouped in 
front of the Duke’s palace, which is screened with a group of trees. 
To the right are the Duke and Duchess in their royal robes, surrounded 
by court attendants seated in front of a fountain of the most imagina- 
tive composition. A court attendant in colored velvet is holding 
Sancho’s ass, which is covered with a superb crimson velvet cloak, 
trimmed with rose-colored ribbons. ‘The background is of formal gar- 
dens, the Duke’s castle and hills beyond. (From Cornelia, Cowntess of 
Craven, Combe Abbey, Coventry) 

Size, 9 feet 9 inches x 19 feet 4 inches. 

[SEE ILLUSTRATION | 


275 


1162 BRUSSELS HAUTE-LISSE TAPESTRY BY JOSSE DE VOS, 
ABOUT 1700: ALEXANDER’S VICTORY ON THE PLAINS 
OF ISSOS AFTER THE CARTOON BY CHARLES LEBRUN 

The centre and left background are occupied by the host of fleeing 
» Persians with horsemen and horses, clad in mail of gold, and the help- 
less figure of the Great King Darius in his war chariot shielded by a 
hotly defended archway. To the right appears the youthful figure of 
Alexander in blue mail with a red cloak thrown around his shoulders, 
seated on his white charger, Bukephalos, and followed by the Mace- 
donians on horse and on foot, who relentlessly pursue the enemy. 
Noteworthy are the dignity of this brilliant composition of scores of 
human bodies in motion and the harmony of colors with the foreground 
in blues, crimsons, and blue greens, and the background in soft mono- 
chrome sepia. The upper right and left background in verdure with 
an eagle hovering aloft. Size, 10 feet x 18 feet 8 inches. 


A set of four Alexander battles closely resembling, but infinitely less 
brilliant in color, the tapestry described above and known to be by the 
same master weaver, hangs in Hampton Court Palace. 


[SEE ILLUSTRATION ] 


276 


BRUSSELS HAUTE-LISSE TAPESTRY BY JOSSE DE VOS, ABOUT 
1700: ALEXANDER’S VICTORY ON THE PLAINS OF ISSOS, AFTER 
THE CARTOON BY CHARLES LEBRUN 


[1162] 


SET OF THREE EARLY EIGHTEENTH CENTURY BRUSSELS 
HUNTING TAPESTRIES BY JEAN BAPTISTE DE YVOS 
AFTER VAN DER MEULEN (COURT PAINTER 
TO LOUIS QUATORZE) 


numBeErs 1163-1165 


1163. LE MATIN DE LA CHASSE 
In the centre appears the figure of the young Royal Huntress dressed 
in a blue velvet hunting jacket trimmed with gold and lined with erm- 
son. On her tight-fitting bodice she wears a bouquet of white flowers. 
On her hair, snugly tied with tlying ribbon, is a feathered “marquise” 
head-dress. She is accompanied by a young nobleman in scarlet and 
gold. The Princess is about to mount her white steed, aided by her 
groom liveried in scarlet and gold. To the left are the horses held by 
grooms in green and tan velvet and on the ground is seated an at- 
tendant in blue velvet, in charge of the hounds, and beyond, the at- 
tendants on horseback, one of whom is seen leading a horse. ‘To the 
right a group of servants, of which one, a woman, in a curiously striped 
cloak, holds an owl and a whip. The entire upper background is filled 
with the columnar porch of a chfiteau, an arbor of engaging design 
and, beyond, formal gardens with fountains and clipped walks with 
statues under arches, in the softest blue-greens and golden tans. The 
formal acanthus-leaf border is enriched with Indian-head mascarons and 
trophies. Size, 11 feet x 16 feet 10 inches. 


[SEE ILLUSTRATION | 


278 


Ai Sat oe Aa GB AS OE 


Ba ad 


SET OF THREE EARLY EIGHTEENTH CENTURY BRUSSELS 
HUNTING TAPESTRIES BY JEAN BAPTISTE DE VOS AFTER VAN 
DE MEULEN, COURT PAINTER TO LOUIS QUATORZE 
“LE MATIN DE LA CHASSE” 


[1163] 


SET OF THREE EARLY EIGHTEENTH CENTURY BRUSSELS 
HUNTING TAPESTRIES BY JEAN BAPTISTE DE VOS 
“LA CHASSE AU FORET” 


1164 


[1164] 

LA CHASSE AU FORET 
A young huntress dressed in flowing gold-colored robes with an ostrich 
feather in her hair is seen galloping on a white charger accompanied by 
a youthful attendant in blue velvet on a brown charger. To the right 
are grooms and pages in charge of horses and hounds. In the back- 
ground are placed the birds which have been bagged, and gun and 
powder cases. The background is of a finely composed landscape with 
soft blue-green verdure. Border similar to the preceding. 

Size, 11 feet x 9 feet 6 inches. 

[SEE ILLUSTRATION | 


280 


SET OF THREE EARLY EIGHTEENTH CENTURY BRUSSELS 
HUNTING TAPESTRIES BY JEAN BAPTISTE DE VOS 
“LA LEVEE DU CAMP” 


[1165] 


1165 LA LEVEE DU CAMP 


The centre is formed by a royal hunter in a fur-trimmed crimson cloak 
with feathered hat on a white charger surrounded by a hunting party. 
One of the hunters is seen holding a loaded pistol ready to protect 
his master from an old peasant carrying an egg basket, and escorted 
by a sentinel with upraised musket. To the right the menials of the 
hunting party, one of them upbraiding an aged peasant, others playing 
cards, and others again looking on. ‘The upper background is com- 
posed of a fantastic tree, a rocky archway, through which can be seen 
a far-away hilly landscape with a round towered castle. In the far 
left background a plain with the silhouette of a hamlet. Border 
similar to the preceding. Size, 11 feet x 15 feet 8 inches. 
[SEE ILLUSTRATION | 


281 


THE BALLOCH CASTLE GOBELINS GOLD AND SILVER THREAD 
TAPESTRIES, AFTER “THE SEASONS” BY LUCAS VAN 
LEYDEN, 1494-1533. WOVEN BY JEAN JANS 
PRIOR TO 1685 


NuMBERS 1166-1169 


Tus celebrated set of four tapestries was the first set executed at the Gobelins 
after the Lucas Brussels tapestries of the sixteenth century. ‘The set represent- 
ing the months was woven after 1685, when royal economy prevented the use 
of gold and silver in tapestry weaving. 

The Balloch Castle tapestries were in their hiding place in a Scottish castle 
for two hundred years, which explains their miraculous state of preservation 
and the untarnished splendor of their original color values. 

There is an incomplete set, including only the last three of The Seasons, but 
also rich with gold, in the Boston Museum of Fine Arts, lent by Mrs. John T. 
Morse, Jr., whose father purchased them in France in January, 1852, at the 
Louis Philippe sale (see article by George Leland Hunter, on Tapestries in 
American Museums, in the “International Studio” for October, 1913). 

There is also an incomplete set, including the same three, but without gold, 
in the collection of Mrs. W. Bayard Cutting of New York. ‘There is a dupli- 
cate of Summer, also rich with gold, but with picture extended, in the collection 
of Lady Betty at Hanover Lodge. 

The Balloch Castle set is the only complete set of The Seasons of Lucas 
known to be still in existence. Mr. William G. Thomson, author of the great 
British History of Tapestry, wrote in 1915: 

“The Designer was the great Lucas van Leyden (1494-1533), whose Months 
of Lucas were among the famous creations of the first half of the sixteenth 
century, and glorified the Emperor Charles V, just as Bernard van Orley in 
the Hunts of Maximilian (also twelve in number corresponding to and illustrat- 
ing the months) glorified Maximilian, imperial father of Charles V. 

“Lucas Huygensz, known to posterity as Lucas van Leyden, son of a Dutch 
painter, was an infant prodigy. At the age of nine he already executed 
copper engravings. At twelve he painted the Story of Saint Hubert for Heer 
van Lockhorst in tempera on linen. Diirer, who met him at Antwerp in 1521, 
speaks of him as a distinguished engraver on copper, and made a portrait of 
him. In 1527 Lucas went to see the painter Mabuse in Middleburg, and with 
him visited Ghent, Mechlin and Antwerp, where he entertained the local so- 
cieties of artists most lavishly. Among his best-known paintings are his self- 
portrait, at Braunschweig; The Last Judgment, at Leyden; The Annunciation, 
at Munich; the Healing of the Blind Man of Jericho, at Petrograd; the 
Virgin with Angels and Donor, at Berlin. It was, however, his numerous 
engravings on copper, which have been published in heliogravure by Duran of 
Paris, that made him famous, and give us the best opportunity to get acquaint- 
ed with his style. Martsch lists 174 of them. Many of his paintings were 


282 


engraved by others, among them: Saint John Preaching in the Wilderness ; 
the Emperor Augustus and the Sibyl; Virgil in the Basket; the Crucifixion ; 
Portrait of the Emperor Maximilian; David and Goliath; Judith with the 
Head of Holofernes; Esther and Ahasuerus. 

“Of the Months of Lucas woven at Brussels in the sixteenth century, there 
are nine of the series of twelve in the Imperial Austrian Collection; and five in 
the Collection of Mrs. E. H. Harriman of New York; both sets without gold. 
The ancient set, rich with gold, presented by the King of Spain to Mazarin, 
was burned for the precious metal it contained, in 1797, during the French 
Revolution. But many of the pieces without gold woven at the Gobelins are 
still treasured as among the most precious tapestries of the French National 
Collection. Especially well-known are those in the Chateau de Pau. 
“Returning to the Balloch Castle Seasons of Lucas, I would call attention to 
the richness of the texture that results from the gold and silver worked into 
the high lights, where it rises definitely but gently against the silk and wool 
of the ground. Ordinary tapestries have merely the contrast of the natural 
wool of the faces and hands against the colored silks and wools of the ground; 
but tapestries enriched with gold have a triple contrast of material to enhance 
the contrast of ribs with hatchings and of light with dark. 

“While the shadows of all the Lucas tapestries woven at the Gobelins were 
deepened to conform to the feeling of painters and weavers of the period, the 
costumes remain in every detail those of the Early Renaissance, which were 
worn by the Emperor Charles V and his entourage at the time of his marriage 
to Isabella of Portugal in 1526. Note particularly the attire of the noble 
on the right of Autumn, with his slashed hose, puffed sleeves, and full beard.” 


283 


1166 


SPRING, SYMBOLIZED BY FISHING 
On the bridge, three pairs of lovers clad in the rich costumes of the 
early Renaissance. In the background on the right, one of the garden 
scenes commonly associated with Fishing, to symbolize Spring. At the 
end of the bridge, in the doorway that leads into the castle, a lover 
taking leave of his sweetheart. On the extreme left, a gentleman 
notable for the gold that enriches his coat and hose. In the river, 
this side of the bridge, fishermen gathering, in their net, fish to add to 
those that already fill the large bucket on the right. Clam shells on 
the bank in the foreground. On the bridge, beside the column, a child 
eagerly watching the fishermen. The costumes of nearly all personages 
are richly charged with gold and silver thread. 

Size, 8 feet 3 inches x 8 feet 8 inches. 


[SEE ILLUSTRATION | 


284 


THE BALLOCH CASTLE GOBELINS TAPESTRIES 
SPRING, SYMBOLIZED BY FISHING 


[1166] 


1167 


SUMMER, SYMBOLIZED BY HARVEST 
In the foreground on the right, a scene that often accompanies Harvest ° 
when it is used to symbolize Summer, i. e., the paying of the laborers 
by the mistress. She sits, purse in hand, beside a table, the coins on 
which are being counted by the man opposite, while the youthful master, 
who with pen case and ink bottle hanging from his waist keeps the 
account in his long book, leans against the apple tree behind. In the 
background a load of hay crosses a bridge, and laborers bind into 
sheaves the grain that has been cut by the two reapers who brandish 
their sickles in the foreground. On the back of one of the reapers is 
seen what may possibly be the coat of arms of the patron for 
whom the tapestries were made—two arrows crossed and ribbon-tied. 
Note also the broad slashed hat that rests in the foreground, and the 
early Renaissance shirts and ribbon-gartered hose and broad shoes, 
especially the slashed shoes of the mistress and of the master whose 
sleeves have an extraordinary voluminousness characteristic of the 
period. Note also the birds that enliven the tree above, and the farm- 
house with trees and landscape in the background. Rich in gold and 
silver, as the preceding. Size, 8 feet 2 inches x 8 feet 3 inches. 


[SEE ILLUSTRATION | 


286 


THE BALLOCH CASTLE GOBELINS TAPESTRIES 
SUMMER, SYMBOLIZED BY HARVEST 


[1167] 


1168 


AUTUMN, SYMBOLIZED BY VINTAGE 
The scene is easy and delightful to remember. The keynote is given 
by the six merry children in the foreground. In the background, a 
vineyard with peasants gathering grapes. In the middle ground peas- 
ants dancing to the music made by the bagpiper who sits upon the 
gnarled tree stump at the left. On the extreme right, wine being 
poured into a barrel, while the lord of the manor himself helps a fair 
peasant to bring a tub of grapes, to add to those that are being 
crushed beneath the feet of the bearded peasant, and of the gay 
Lothario with slashed trousers and plumed hat, who is taking the 
grapes from the bucket brought by the winsome damsel on the extreme 
left. Rich in gold and silver, as the preceding. | 

Size, 8 feet 5 inches x 12 feet. 


[SEE ILLUSTRATION ] 


288 


THE BALLOCH CASTLE GOBELINS TAPESTRIES 
AUTUMN, SYMBOLIZED BY VINTAGE 


[1168] 


1169 


WINTER, SYMBOLIZED BY SKATING 

A vivid picture of winter life in Flanders in the period of the Emperor 
Charles V, who was born at Ghent and whose native language was 
Flemish. The lord and lady on the right, though not individualized, 
resemble closely the portraitures of Charles V and his bride Isabella 
which appear in the Months of Lucas. Like many of the most famous 
ancient tapestries, this has not one scene but two, Skating in the fore- 
ground, and a Conflagration in the background on the left. With 
ladders and hooks the peasants in the upper middle ground on the left, 
rush towards the blazing buildings from which horses and sheep are 
running in terror. ‘To the right, the winter landscape stretches de- 
lightfully away in hills and valleys towards the distant horizon. The 
skating scene is backgrounded with an imposing castle, before which 
two children drag a third, while a fourth runs alongside. Just this 
side of them a skater runs in the direction of the Conflagration, the 
news of which is brought by the two men with gesturing left arms on 
the extreme left. Most of the skaters are apparently still unaware of 
the fact that there is a fire, especially the youthful lovers in the fore- 
ground on the left, and the two children warming themselves at the 
brazier in the middle foreground. The draping of the costumes is 
effectively emphasized by the lavish use of gold in the high lights. Rich 
in gold and silver, as the preceding. Size, 8 feet x 12 feet 8 inches. 


[SEE ILLUSTRATION | 


290 


S TAPESTRIES 
ATING 


ASTLE GOBELIN 


Ss 


ALLOCH C 


THE B 


SK 


’MBOLIZED BY 


bd 


WINTER 


[1169] 


THE GUILFORD TAPESTRIES—THE ELEMENTS 
SET OF FOUR ENGLISH TAPESTRIES WOVEN BY 
JOHN VANDREBANC, LONDON, ABOUT 1700. SIGNED JOHN 
VANDREBANC FECIT, GREAT QUEEN STREET, SOHO 
AFTER THE CARTOONS BY CHARLES LEBRUN 


numMBERS 1170-1173 


These tapestries were executed by Lady Guilford’s order for the apartments of 
the Prince of Wales at Guilford Abbey, and were acquired from the Estate of 
the Lord North, of Wroxton Abbey. Very few tapestries of London weave 


are known. 


1170 EARTH 

In the centre appears Diana in a scarlet cloak with a hunting horn at 
her side, holding a hound and a spear. She is guided by a winged 
amour to the draped figure of Venus recumbent on a cushion, sur- 
rounded by three winged amours with their hands pointed in motions 
of secrecy. The figure of the sleeping goddess is framed by a curtain 
of crimson cloth falling in loose folds from the lower branches of 
Juxuriant fruit-laden trees which extend to the upper right foreground 
and are filled with spirited shapes of winged amorini, love birds and 
macaws. To the left of Diana are winged amorini bathing from one 
bank of the river, at the other bank are shown putti fishing. A bush 
appears at the left with love-emblems attached to its branches, and a 
macaw perched upon a bough. Above the rocky hills and in the clouds 
are two winged amours waving a rose-colored cloth. There is a superb 
border of four circular vignettes with finely designed landscape motivés, 
and four octagonal cartouches with the same design, between which are 
garlands of ribbons and shells on a dark brown ground. 

Size, 10 feet 2 inches x 12 feet. 


[SEE ILLUSTRATION | 


292 


THE GUILFORD TAPESTRIES—THE ELEMENTS 
“EARTH” 


[1170] 


1] 


1 


WATER 

In the centre appears a fountain on four dolphin body supports headed 
by a nude female body carrying the bowl, with splashing waters emitted 
from a group of three satyrs. To the right is a richly laden fruit ivee 
in blues, greens, scarlets and silver-grays. ‘The lower foregrounds 
composed of a gondola boldly shaped and driven by two rowing amorini 
draped in blue and with blue and rose-colored wings. ‘There is a hood 
of crimson and gold-trimmed velvet destined for the goddess Venus and 
upon which an amour fastens his sickle with a love-knot. Background 
of temples, trees, and far-away hills, with border similar to the pre- 
ceding. ; Size, 10 feet 2 inches x 6 feet 5 inches. 


[SEE ILLUSTRATION | 


294 


THE GUILFORD TAPESTRIES—THE ELEMENTS 
“WATER” 


[1171] 


AIR 
In the right foreground Diana is taking the love-bows from dormant 
amours lying on cloaks of crimson and gold, and her attendant is shown 
destroying a bow, while to the left another attendant holds a stolen 
bow, and a third is clipping the wings of a dormant amour. In the 
rear centre an attendant can be seen throwing the bows and emblems of 
love into a fire which burns around a tree upon which are fastened the 
emblems of wounded love. Flying symbolic birds abound in the air, 
and in the right upper foreground is a luxuriant tree with tropical 
birds perched upon its branches, while in the upper centre is an allegori- 
cal figure seated on clouds. To the left are tropical birds and birds of 
the chase. Border similar to the preceding. 

Size, 10 feet 2 inches x 10 feet 9 inches. 


[SEE ILLUSTRATION | 


296 


SOR 


THE GUILFORD TAPESTRIES—THE ELEMENTS 
ATR”? 


[1172] 


11738 FIRE 

To the left is seen Venus recumbent upon a superbly engraved bed, half 
her nude body cloaked in sapphire-blue. At her right appears the nude 
figure of Vulcan reclining on the ground holding a hammer. Venus is 
addressing two winged amours carrying a cartouche upon which has 
been affixed the emblem of the pierced heart. A background of crimson 
drapery is suspended through the branch above which rises the forest 
filled with macaws and cockatoos. ‘The centre is occupied by amorini 
discharging their arrows, and another bathing his feet in the dull pond 
beneath. In the right background five winged amours are sharpening 
their weapons in Vulcan’s workshop, with their quivers on the ground. 
On the roof of Vulcan’s forge rests a brilliantly colored macaw, while 
others are in the background. Above, in the sky, the figures of the 
goddess’s two attendants are chasing the white pigeons of lore 
Border similar to the preceding. 

Size, 10 feet 2 inches x 14 feet 7 inches. 


[SEE ILLUSTRATION | 


298 


THE GUILFORD TAPESTRIES--THE ELEMENTS 
| “FIRE” 


[1173 | 


1174 EARLY EIGHTEENTH CENTURY BEAUVAIS TAPESTRY BY 
PHILIPPE BEHAGLE WITH ORNAMENTS BY JEAN 
BERAIN, ABOUT 1700 

The centre of the tapestry is occupied by a marble portico of white with 
a yellow base, and scrolled columns of brilliant vermilion with baluster 
ornaments in gold, blue, and white. ‘The doorway is designed to frame 
a composition of flower vase filled with garden flowers, which has been 
placed on a rail and is covered with sapphire-blue velvet. At the 
right appears a gypsy with a tambourine in her upraised hands, 
dancing to the music of two masked. grotesques in costumes of the 
Italian comedy, plucking the strings of their lutes. Above in the sky 
are spiritedly drawn rope performers, a female in blue breeches and 
crimson hose, supplied with butterfly wings, and to the right a jester 
with his regalia. The foreground is of black and golden-yellow marble 
tessellation, which continues to the right and left, supporting on the 
left a composition of an Oriental ruler, seated on a dais trimmed with 
flower festoons and flanked with Sphinx bodies, with the lion tamer at 
the left. To the right appears another dais with the Oriental queen 
who has arisen from her throne, examining the jewel chain offered her 
by Nubian slaves. Beneath the dais appears an elephant ridden by a 
youthful herald and guided by a turbaned attendant. This motif is 
balanced by a gorgeously caparisoned camel held by a page attired in 
a soft-colored Eastern costume. ‘The architecture is crowned by vine- 
laden arbors which appear above the curtained draperies of sapphire- 
blue and rose enriched with macaws and jewelled pendants. At the 
very right and left top are two-handled vases filled with flowers. In 
the centre are festooned cartouches and a multitude of emblems and 
arabesques superbly composed. ‘The amazing decoration, woven in the 
most delicate multicolored silks, is laid on a soft sepia-colored ground 
bordered by acanthus scrolls, and cartouches in gold, dark blue, and 
silver-gray. Size, 10 feet 3 inches x 19 feet 10 imches. 


Jean Berain, one of the most celebrated “‘maitres ornementistes” of the 
Louis Quatorze period, was born at Saint Mihiel in 1638, and died in 
Paris in 1711. He influenced French taste during the entire reign of 
the “grand monarque,” and his book of designs, “Livre d’Ornemens,” 
published in Paris in 1703, soon became the most fertile source of orna- 
mentation. His designs for the tapestries of Beauvais met with great 
favor and Madame de Montespan ordered a tapestry for the Hotel of 
the Comte de Toulcuse, her son, (vide the magnificent Berline, Number 
1178 of the Catalogue), which was mentioned enthusiastically by Piga- 
niol de la Force in his “Description de Paris.” 

Mariette says: ‘“‘Berain était d’une trés grande vogue: on ne faisait 
rien en quelque genre que ce fut sans que ce soit dans sa maniére.” 


[SEE ILTUSTRATION | 


300 


EARLY EIGHTEENTH CENTURY BEAUVAIS TAPESTRY BY 
PHILIPPE BEHAGLE WITH ORNAMENTS BY JEAN BERAIN 


[1174] 


1175 


EARLY SIXTEENTH CENTURY ARRAS TAPESTRY AFTER 
BERNARD VAN ORLEY 
Hunting tapestry of extraordinary interest abounding with symbolism, 
comparisons of the suffering of the hunter to those of the hunted. 
It depicts a King’s hunt with attendants carrying spears and arque- 
buses, with a background of a medieval town between strangely knotted 
trees in bloom. Above appears God the Father in clouds, and beneath, 
in Latin, a quotation from the forty-first psalm which refers to the 
symbolic deer below. This animal is seen drinking in a brook in foliage 
with a parrot and a hunting dog. ‘The very ends are again trees and, 
perched upon them, two seraphim holding a label inscribed in old 
French: 
“CERF QUI POUR MOY TOUT SANS FLESCHIR 
SOUFFRES [DEVEN] ANT MON CONVIVE 
VENES EN MOY VOUS RAFRESCHIR 
CAR SEUL SUIS LA FONTAINE VIVE” 
The personages and the landscape background are woven in multi- 
colored threads, silks predominating, while the foliage is of deep blue- 
green and maroon. (Formerly owned by the Marquis of Breadalbane) 
Size, 12 feet 2 inches x 11 feet 3 mches. 


| SEE ILLUSTRATION | 


302 


if 


od 


EARLY SIXTEENTH CENTURY ARRAS TAPESTRY 
AFTER BERNARD VAN ORLEY 


[1175] 


1176 TWO BEAUVAIS TAPESTRY CANTONNIERES BY THE 
CELEBRATED SALEMBIER, ABOUT 1777 

Salembier is considered one of the foremost ‘‘ornementistes” of the 
Louis Seize period. He published a great number of “cahiers” in which 
he developed a graceful formalism, always recognized as his own. He 
is often compared to Robert Adam. 
Apart from his designs, engraved by Juillet, few authentic decorations 
of this master are known. The Beauvais Factory has executed, be- 
sides the above-described cantonniéres, a number of chair seats, and 
Madame Jubinal discovered four large panels in an old house of the 
Rue Caummartin, now the property of M. Georges Dury. 
The cantonniéres are composed of a frieze occupied by slender voluted 
scrolls of golden-yellow with naturalistically colored rose garlands, be- 
neath which are hung draperies in folds of blue and white with wreath 
of brightly colored flowers, fringed with gold and tied with tasselled 
ribbons and stiles occupied by formal arabesques of flower baskets, 
covered two-handled urns and festooned volutes. Borders simulating 
carved and gilded wood of a husk and bead pattern. 
Twenty-five inches at the bottom of one has been restored, but this 
portion can easily be removed. (2) 


[SEE ILLUSTRATION | 


304 


TWO BEAUVAIS TAPESTRY CANTONNIERES BY SALEMBIER 
[1176] . 


1 


are 


PAINTED PASTORELLE BOUCHER ROOM 
Composed of four large and three small panels painted on canvas, each 
occupied by groups of handsome young men and women, dressed in 
softly colored garments, some fishing, others trapping a white pigeon, 
and others again in the poses of pastoral love, in classical costumes. 
Backgrounds of landscapes of round towered villas and shepherds and 
shepherdesses in verdure with architecture and a fountain inscribed: 
“Fontaine de la Verité.” All these panels are bordered frames simulat- 
ing carved and gilded wood. ‘The upright panels are painted with 
vistas, and single trees in the foreground. 
This room was doubtless painted under the supervision of Francois 
Boucher, for the Beauvais factory where they served as cartoons for 
the tapestry weavers. 
Height of each panel, 9 feet; Widths, 8 feet 6 inches; 9 feet 2 inches; 
6 feet 6 inches; 8 feet 4 inches; 2 feet 1 inch; 8 feet; 2 feet. 


[SEE ILLUSTRATION] 


306 


PAINTED PASTORELLE BOUCHER ROOM 
1177 


1178 


VERNIS MARTIN “BERLINE” OF THE COMTE DE TOU- 
LOUSE, MADE FOR THE CORTEGE OF THE ADMIRAL OF 
FRANCE BY GUILLAUME & SIMON ETIENNE MARTIN IN 
THE YEAR 1736 


The body is made in the form of a Chaise a porteur (Sedan chair) 
with five sliding glazed windows bound with crimson velvet, of which 
two form the upper portions of hinged doors fitted with original 
chiselled rocaille hasps. ‘The exterior is gondoled and carved, on its 
gilded frames, with acanthus scrolls. The dadoes lacquered with six 
finely painted panels, front and back with allegorical figures flanking 
the full armorial bearings of the Comtes of Toulouse, quartered with 
the arms of France; the sides also with emblematic figures and winged 
putti on clouds in soft flesh tints with draperies of blue and scarlet, sur- 
rounded by baroque scrolls of green and red gold interspersed by 
two-handled urns filled with naturalistically painted garden flowers 
falling beyond the rims of the urns and acting as climbing garlands. 
The interior is cushioned and lined with cut and uncut crimson Genoese 
velvet. It rests on a chassis of two giant and two small wheels with 
wrought-iron tires heavily studded with nails, with rails, footmen’s 
seat, wheel brakes, and shafts of baroque design painted Venetian red 
and heightened with gold. 


The coach is imbued with unusual romance, as it recalls the lives of 
two of the most fascinating personalities of the eighteenth century, and 
represents a chef d’ceuvre of the Brothers Martin. 


Louis Alexandre de Bourbon, Comte de Toulouse, was the son of Louis 
Quatorze by Madame de Montespan. He was born June 6th, 1678, 
and died December Ist, 1737. At the age of five he became “Admiral 
of France’; at twelve, he accompanied his father to Holland and was 
wounded at the siege of Namur. In 1702 he was squadron commander 
at Messina and Palermo. In 1704 he thwarted the plans of the Eng- 
lish in Catalonia and fought in the Malaga battle with Admiral Rooke, 
with great loss to the English. In 1723 he married one of the most 
beautiful and intellectually brilliant women at the Régence Court, the 
Marquise de Gondrin, before her first marriage Marie Victoire Sophie 
de Noailles. Her presence at the Chateau de Rambouillet was re- 


308 


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VERNIS MARTIN BERLINE OF THE COMTE DE TOULOUSE. 
[1178 | 


1736 


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sponsible for its renown as a spiritual centre. Of thi 
born the Duc de Penthievre. | 


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St. Simon, the sceptical, speaks of Toulouse as: “Thon 
Padroiture, l’équité méme.” ie 


An object of such importance, with the royal arms 0 
intimately allied with the history of the Monarchy, h. 
crossed the ocean. Authentic creations of this o 


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IMPORTANT LARGE WOOLEN PALACE RUG _ KASHAN, PERSIA 
Elaborate border, consisting of a main border framed inside and out- 
side by three narrow floral borders. The main border with an elabo- 
rate design of undulated stems with attached conventionalized peony 
flowers on deep red ground, the empty spaces between being filled with 
a great variety of well designed flowers; the smaller borders with yellow 
grounds on the outside and deep blue in the middle, show diverse un- 
dulated vines of elaborate design. The centre field shows the classical 
type of composition in which there are four quarter medallions, one in 
each corner, repeating in somewhat abbreviated form the design of the 
huge centre medallion, to which smaller medallions are attached above 
and below. 

The ground of the centre field is deep red and shows in the four quar- 
ters the same design of rhythmically drawn trees, growing out of 
elaborate urns and enhanced by a profusion of rose palmettes and other 
flowers. ‘The same type of design prevails in the medallions, which 
show superposed shields with deep blue, cream-white and red ground, 
leading to a central sixteen-pointed star with green ground and large 
central rosace. This type of design is derived from sixteenth century 
rugs, such as the famous Ardebil rug in the South Kensington Museum. — 
The present specimen may be qualified as one of the finest speciniens 
of nineteenth century rug knotting. The composition is extremely well 
balanced and is sumptuous in color. ‘The knotting is very fine; the 


weft is pale blue, a color typical of Kashan rugs. 
Size, 22 feet x 36 feet. 


[SEE ILLUSTRATION | 


312 


LARGE IMPERIAL KASHAN PALACE RUG 
[1179] 


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